"We research the company on the Internet and look at their annual report if it's a public company," says Terry Sagedy of Ivory Communications, a full-service marketing communications firm. "If we know someone within the organization, we try to gather information. We also look at the company's stature in its business category - sometimes it's fun to work with an underdog because you can make great strides and that's an exciting prospect. Basically, we evaluate the potential income from the account, whether we have expertise in the category and whether the company's product or service is interesting to us."
"We look at the prospect's business and communications objectives to determine if public relations can deliver for those objectives. If it looks like PR can meet and exceed the client's expectations, we move on to do other research," says Debbie Wetherhead of Wetherhead Communications, a public relations and media training company. "We talk to people in the business community to find out if the organization is viable and if it pays its bills - we look for people who can vouch for the credibility of the company."
Additional points to evaluate include whether the business can lead to a long-term relationship or offers a high profile opportunity. Chemistry is an important factor along with work philosophy. Many creatives welcome a smaller account that does not involve a competitive pitch. For others, a whopper of potential revenue is the deciding factor.
Once the intelligence work is completed and it is determined that the prospect is worth pursuing, it's time to focus on preparing for the pitch. In most cases, the preparation time is relatively short, estimates range from a few days to six weeks. What are the basics of preparing an effective pitch?
Most creatives confirm that talking with the prospective client is the key to a killer pitch. "We try to listen closely, to understand what the client wants," says Jim Alabiso of Nobones Studio, a full service special effects and multimedia studio.
Sagedy agrees, "We spend time talking to the client to learn about problems or concerns. We try to hear what's really going on. The crux of preparation is being a good listener, not relying on your gut feelings."
For Greg Torre of the Georgia Film and Video Office, responsiveness accompanies active listening. "After we get a verbal description of the types of locations a producer wants, we go to our files and try to pinpoint those locations. We make prints and get them out quickly to try to interest the production company in coming here for a location scout, which is our version of the pitch."
When talking with the client, it's also a good idea to find out about other variables related to the pitch, such as who will attend the pitch, who are the decision-makers in the room. Most creatives also ask who are their competitors.
"I wouldn't change my pitch based on the competition," notes Wetherhead, "but knowing who they are gives me a sense of the playing field."
Assembling a pitch team is a common practice, regardless of how many people actually present. "The make-up of a pitch team is determined by the expertise the project requires," says Mark Falls of Crawford Communications, a full service video production and special effects design and production company. "Ultimately, your client is buying a relationship and needs to evaluate his or her comfort level with the individuals who'll be solving the problems. That's why you pitch in person."
Another common practice is forming an alliance with another creative company to pursue the business. Falls continues, "In an era of converging media and rapidly mutating technology, it's impossible to cover every area of expertise. To answer our clients' evolving needs, we have developed strategic partnerships across a variety of specialized technologies."
The physical lures used in the pitch vary depending upon the creative discipline. Wetherhead's public relations presentation incorporates a leave-behind that serves as an unofficial script to walk the prospect through her firm's capabilities. Alabiso says "kick-ass story boards" are his best sales component. "If we really want the business, we may produce animated segments to get the idea across," he adds.
Falls believes video is the "crucial medium" when pitching to his prospective clients. "We usually include storyboards as well, and I like to format them in a way that's portable, reproducible, easy to read and easy to share," he says.
Sagedy incorporates various visual aids from formal storyboards to informal graphic boards on which he can write.
Rob Kennedy of Critt Graham + Associates, a design firm, usually brings examples of past work that fit with the client's industry and budget. "We are philosophically opposed to doing spec work and will provide it only in selected cases," he says. "We're willing to generate creative work for a reasonable fee, to cover expenses, but we agree with the American Institute of Graphic Arts (AIGA) guidelines, which recommend against spec work." Kennedy says he prepares an outline of key points to cover in the presentation, to help him organize his thoughts.
In preparation for their "sales pitch" about Georgia locations, Torre and his team have arranged transportation and lodging for their prospects and gathered additional photos, a crew list and production guide. "We want to have everything in place by the time they get here."
Opinions differ, but everyone agrees that Mondays are the worst days to launch a presentation. Mornings get more votes than afternoons and the after-lunch time slot is to be avoided at all costs.
"The early part of the week is hectic and by Friday people are wrapping things up for the weekend," says Falls. "We shoot for the middle of the week, when clients are in the groove and receptive to a break in the routine. The best way to get the day you want is to ask."
"The choice of when to schedule the pitch depends on where it is," notes Kennedy. "If it's out of town, I like to schedule the presentation first thing in the morning or late in the day. To keep costs down, it usually works to fly in during the morning and pitch in the afternoon."
Most people believe that being the first competitor to pitch is an advantage, although arguments also favor being last. "If we're on first, the producers are fresher and the locations we show prompt them to think about how a movie can be made there," says Torre. "We make sure we get our photos out quickly so they're more likely to schedule us first for the location scout."
"The first impression is always a lasting impression," notes Alabiso. "A lot of times, a client has never seen special effects, and we stay in their minds if we're first to present. Those that come after us will not have as great of an impact. The key is to be a hard act to follow."
Wetherhead prefers to be last because at the end of a series of presentations, "you're top of mind." "I'd rather be last," agrees Sagedy. "There's no one behind that can knock you out. However, it doesn't really matter as long as the pitch has substance. It all boils down to substance."
"You want to grab your client's attention right away," says Falls. "We try to start our pitches on an emotional high point, then get right into a detailed delineation of how we can solve their specific needs. Hopefully, we finish with a show-stopping image. Brevity is everything."
"It's important to make the pitch a dialogue," notes Wetherhead. "I stand up for the official section and sit down when it becomes more conversational. I try to build chemistry and a relationship by being responsive. If there's a heckler or a negative person interrupting me, I remember that the way I handle the situation can be as important to the client as my key messages."
"I like the pitch to be informal and conversational," says Kennedy. "I love it when the client asks a bunch of questions, then I know they're interested."
Torre increases the odds of a catch by making sure his prospects are as comfortable as possible. "We take care of their physical and emotional needs. We make sure they rest well in good hotels and eat well. It's like someone visiting your home. Usually producers like to come to Georgia because people are nice and gracious here. It all plays a part."
Other basic recommendations for the pitch include being direct and relaxed, making eye contact, and keeping a sense of humor. "It's not a firing squad you're facing, but potential members of your extended team," says Falls. "You may not be the right vendor for them. The worst thing that could happen is that you could be the wrong solution and sell them anyway."
What's the best way to hone pitch skills? "Rehearse, rehearse, rehearse," advises Sagedy. "Training is also vital. If you want to compete, you should get formal presentation training. You may have great work, but if you can't look someone in the eye, they're not going to trust you."
If the client is indecisive or takes a long time to award the business, an occasional phone call or e-mail is appropriate. If the business goes to another firm, most people don't hesitate to ask why. They apply the information to improve the next pitch.
"We cultivate a collaborative relationship whether we've received the award or not," says Falls. "People move around a lot in our business, and everyone knows they might find themselves on the same side of the fence one day. So why not get on the same side now?"
Wetherhead agrees, "You always want to leave on good terms with the client, in case things don't work out with the firm they hired. You never know when a client may be dissatisfied, so look for ways to leave doors open."
We no longer have to view the pitching process with fear and loathing. It's not a potential shark attack. Whether we land the catch of the day, or talk about the one that got away, we will have another opportunity to pitch. Through practice, resourcefulness, and creativity we can learn to craft effective pitches and present them with confidence.