Creating Content for Kid's Shows (PART 3): How to be International

Greetings - finally, here's part three - How to be International -  culled from wisdom delivered at the Creating Content for Children's Shows workshop last month by the talented Leanne Preston of Bright Box. 

It's an interesting concept - we all want our shows to travel - but yet be original and fresh and new. PUNKY has managed it - Series One has sold all over the world to as diverse a range of territories as Argentina, Brazil, South Korea, Turkey, New Zealand, Finland, the Netherlands, Qatar, Denmark and the US. There's even an episode on YouTube in Turkish! Hopefully Series Two will too... and Wulfie... and Roxy & Rowena...

If you want to catch up on the previous content, here are the links to
Creating Content for Kid's Shows Part 1: Standing out from the crowd
Creating Content for Kid's Shows Part 2: The broadcasters

How to be International...

• Create a world that could be set 'anywhere' or somewhere fictional.

In simple terms, this might mean making up a name for your town or world that isn't too place specific. It might mean not putting the kids in school uniforms (in Germany, for example, they don't wear them). Make it feel like a world all kids yearn to belong to or at least visit regularly on their tvs/ computers but that feels like it could exist because it's not obviously set in Ireland or elsewhere.

• Find a universal theme.

Similarly, you want children to understand what motivates, what drives your character - it might be aspirational, it might by identification with that motivation but the the concerns and issues your characters have are ones your audience knows of, has felt or to which can closely relate . For example very child wants a best friend, perhaps, or every child can understand loneliness, being afraid to go to school, wanting to be popular, to be the best at something, to be the bravest etc.

• Curriculum issues.

This last one can seem to run counter to the idea of creating a series that is unique and utterly original but the idea is not to alienate a large segment of the international audience you aspire to reach. For example, setting a series in Victorian times might not working internationally. Why, because it's an historical period that grew from the UK/ the Empire and which, while not restricted to the Western Europe and the US, didn't have the same impact elsewhere.

I ran into this many years ago with a storyline pitch for an existing series. The title I'd chosen to develop into an outline involved the North Pole. So I used Santa. Without giving the story away - because a producer expressed strong interest in it as a feature film a few days ago! - it was a neat little tale with a twist involving science and magic and wish fulfilment and making things better and allsorts of nice things and it really worked. I could see it.

Only it didn't. Santa was too 'culture specific' for the Asian market. I did one about an Ice Hotel with a basement full of kidnapped animals instead...  but it's funny, that original idea never went away cos I know it works. Maybe now it will resurface and become my first Christmas feature!

• Tone and voice/ Writing talent...
• Dialogue...

Mid-Atlantic seems to be the way to go here though there are exceptions. In pre-school, for example, English accents seem to be acceptable, possibly because speech is clear and minimal?

But otherwise, in scripts travelling internationally, the rule of thumb seems to be that you have to find a universal phrase/ word - ie not idiosyncratic to the culture from which you come - "Or American, if there isn't one".

• Familiarity
• Casting
• Jokes and references

They can seriously date a project. What you do want are jokes that will amuse the adults who are also watching or nostalgia that will pull them in and increase the likelihood that this is a series that will run and run like Peppa Pig or SpongeBob or Gumball...

I was told once that the fantastic thing about writing a children's animation series is that the audience 'renews' itself every four years -- if you can make your characters and stories appeal, especially internationally, it could run forever. Or be re-created anew every so often like Ninja Turtles who no longer look much like the series I knew - far more beefed up! 

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Leanne's workshop was run on April 25th by Animation Skillnet, which was set up by Gareth Lee, a member of the Creatives in Animation Network (CAN)  and Programme Leader of the BA (Hons) Animation at BCFE. 

Creating Content for Kid's' Shows. Part 2: The broadcasters

"We'll know it when we see it..."
"Show us something we can't refuse..."

Broadcasters and networks don't always make themselves easy for us to 'read'. In the past I remember my agent firing me wish lists after he'd meeting with a network, broadcaster or producer or when a new development exec was scouting for material through the agencies and I would try to find ideas that might fit. They either came from my existing portfolio or I'd fire off something new that I felt would grab attention and possibly lead to a commission.

As far as I recall, none of them did! But at least I now have a few black boxes of ideas, germs of ideas and pitches that just might be right sometime! It's a good exercise in ideas-generation that should stand me in good stead in any writers' room...

Frustrating though!

At the Creating Content for Children's Shows workshop last month, run by Animation Skillnet, Leanne Preston of Bright Box had a few very useful pointers to offer. Sometimes all you need is a list to check through, even if it seems that some of the points should be common sense or second nature, and it can clarify the pitching process.

I've already worked with Leanne on my series WULFIE, which is in development with Monster Entertainment, and her credentials are impressive. Animation Skillnet was set up by Gareth Lee, a member of the Creatives in Animation Network (CAN)  and Programme Leader of the BA (Hons) Animation at BCFE.

So what do they want?

• Each broadcaster has their own remit and the advice was to do your research both on their shows and the personnel you might be talking to. 

If you know your current pitch is unlikely to appeal, take the time to make a good impression and create the contact you can follow up on when you have a pitch that might suit better. Find out what's on their wish list. It might be the very way to come up with a new idea fast!

• You want to find a show that fits in their current schedule - but offers something extra.
• Strong, positive characters -- but steer clear of stereotypes. 

Instead offer multi-layered characters - we want to be finding out about them as we watch. Something that sits with their brand - so KNOW their brand. Create characters we want to spend time with. Turn stereotypes on their heads. Have fun!

• Comedy. Action is served by the big brands; we can't really compete.
• Upper pre-school/ bridge shows
• Transmedia shows with an enhanced audience experience.

As for the networks themselves:

• Cartoon Network is boy-skewed, but they don't want to ignore girls, after all they did the Powderpuff Girls...

• Disney want strong female leads, positive role models whereas Disney XD are looking for boys' shows, aged 8-14 and it's all about 'levelling up' ie being a better version of yourself on TV, eg having super powers, being able to run really fast etc.

Our own feedback from Kidscreen regarding my new pre-school show (ROXY & ROWENA) was that if a series had magic, they'd be interested. Otherwise not.

• Nickelodeon are more gender neutral. They want characters that boys and girls can relate to in every show. 

Still to come in this series:

1. How to make your series international...
2. Market awareness
3. Things to avoid...

Creating Content for Kids's Shows (PART 1)

Animation Skillnet (set up by Gareth Lee, a member of the Creatives in Animation Network and Programme Leader of the BA (Hons) Animation at BCFE) brought Leanne Preston of Bright Box over to run a one day workshop on this subject last Friday (25th April) in the Guinness Enterprise Centre. 

I have a new series, ROXY & ROWENA that I'm developing with Natasha Crandall, an educational consultant in New York. We'd had it at Kidscreen in February and it wasn't working - everyone loved the idea but wondered was it a regular series or a series of 2-3 minute fillers or should it be a series of books? - so this was my excuse to attend. 

Having worked with Leanne recently on WULFIE (in development with Monster Entertainment, with Media funding), I knew she was good and I wasn't disappointed! So, today, I'm just going to share her pointers from one section and I'll come back with another next week.

So, how do you ensure that you and your series stand out from the crowd? 

• You create unique lovable characters.

Okay, well this seems obvious but the point was made that since characters do not change in an animated series, regardless of what happens, even the 'bad guys' have to have some redeeming quality as well as being the victim of their own downfall. I found this out with WULFIE. My original stories and bible (circa 2006//) had a parent who hated her step daughter, my lead character, Libby and this had to change. Networks want to "promote positivity" - so the lesson seems to be, "keep your Roald Dahl material for the novel"!

As a writer, we create worlds that we feel work but it's a collaborative and expensive process developing and producing an animation series so material is honed and lessons are learnt!  It's not always easy though. If you're lucky, you look back and say the decision-makers were absolutely right. 

The other issue I've had is having too many characters - too many interesting characters - in series' bibles. The original PUNKY had a whole Comic Con of additional characters I absolutely loved. And they went. Well they went into a messy corner of my brain waiting for a chance to rise again. I've a feeling they will. They get argumentative from time to time about their enforced inactivity and besides, other characters, shelved from series I've created, have gone on to have, in one case, a novel and in another a feature script all of their own. 

• You have a fresh visual style (Gumball for eg, though less expensive!)

• An original concept. 

Boil it down. What are your series USPs (unique selling points)? Is it transmedia, very interactive, is it the look, the characters? 

Can you summarise the concept in one sentence, max 25 words, that makes it sound unique? Oh and just because it hasn't been done, doesn't necessarily mean it's the next hot idea - it might not have been done because it's too difficult. Leanne gave one example of a cookery show she was developing for kids -- the restrictions placed on what you could actually show kids doing and with what implements made it, in the end, a no go.

I've run into this working on some series - where I was told I couldn't have the child climb out a window or rescue a mouse that was about to eat food poison in case kids copied. It was the same with climbing trees. In some cases, yes, you don't break the rules but on the other hand, the last thing in the world you want to create if you want it to stand out is a series that is so safe it's running backwards into its own shadow and apologising. 

• Target co-viewers ie the adults who watch with kids. Elements that work and seem to help with longevity and international sales are jokes for the adults - yes, even Peppa Pig has them, so does SpongeBob - and a healthy dose of nostalgia (Adventure Time).

• The series has licencing and merchandising potential. Are there props or characters you can use for this?

While pitching ROXY & ROWENA at Kidscreen, one exec told Natasha that Roxy, the dog was generic, ie what would make it stand out on a toy shelf? All I had done was create a scruffy but cute and loveable dog -- but that isn't enough. Mind you, Natascha was also told that there was no way a series could go into production in which the lead character was a girl with red hair because "other kids won't relate to her"!

• Redeveloping known and successful properties eg Ninja Mutant Turtles -- again, this isn't something most of us can do as freelance writers and animators or even as small companies. 
• Adapting properties from successful properties in other mediums - from books, comics, web series. 

Look at what kids are watching, said Leanne. The Annoying Orange and Fred both began online -- I only saw them because my teenage daughter thought they were hilarious at the time and introduced me. Doesn't mean I liked them or found them funny - I didn't - but it's a good idea to keep abreast of what they are watching.

• Timing - this is the element of luck. 

There are zeitgeists out there and people might be developing something similar -- but if that series doesn't work, then by the time you have your series ready, perhaps it'll be the right time?!

• Make an impact when you pitch. 

Make them remember you -- for the right reasons! Ask them what they're looking for and then, if it's not something your idea sits well within, make it a general meeting and follow up with other material later.  Research the people you are going to pitch for so you can target your pitch to them -- make them feel special!!

• Know your key markets.  

Monday 28th: Come to CAN (Creatives in Animation Network) - the next gathering of creatives

Just a reminder - next Monday is the 10th Creatives in Animation Network (CAN) event. Starts at 7pm sharp, ending at 9. Open to writers and those working in animation who are interested in collaborating. We already have a fantastic network of creatives and the gatherings are never, ever dull!

Let me know if you want to come along at ljsedgwick@lindsayjsedgwick.com -- sorry, must be the longest email address around! - so I can keep an eye on numbers. (Though, if you've been to a meeting before, you can just turn up at 7 if it turns out that you are free after all.)

Creatives in Animation Network (CAN) Info Sheet

PUNKY At the IFTAs

So we didn't get an IFTA, it really doesn't matter and congratulations to all who did. It was PUNKY's third IFTA nomination and there was also a Celtic Media Award nomination in 2012 -- and that's a pretty delightful track record!

We actually met fantastic and interesting people including Philomena Lee, Steve Coogan, Michael D Higgins - in what other country could you tap the President on the shoulder as he was was eating dinner and he'd get to his feet for a photo and a chat?! - Brendan Gleeson - he and Aimee had a good chat about acting - Michael Fassbender, Simon Delaney and many others across the waves of the film and TV industry. We celebrated being there with everyone else, even got a bit of dancing in - thanks Aimee, nobody else would have danced with me! - and had a ball.

 

Thanks to the talent behind PUNKY... we're off to the IFTAs on Saturday again

The dress is ready and Leo’s bow tie has been found skulking in the depths of his sock drawer because this Saturday, PUNKY (Series 2) is up for her third IFTA, for Best Children's Programme.

Voiced by the wonderful Aimee Richardson, this little girl I created back in 2007 has stolen hearts not just here but internationally, showing what is possible if you get enough inspired and brave people backing an idea. 

First Andrew Meehan, former Development Exec in the Irish Film Board dived in. He loved the idea I pitched and the IFB rolled in to give me development funding to prepare a full bible, episodes and hire a script consultant – Barbara Slade (ex Rugrats) and then Aidan Hickey.I was already in touch with Down Syndrome Ireland who were hugely supportive. That was late 2007 and it was ready by the end of the summer 2008.

Which is when Gerard O'Rourke - European Producer of the Year/ Cartoon Forum/ 2011/ Annecy –  of Geronimo Productions (which was then Monster Animation) – came on board. He loved the idea and saw its potential from the start and that was exciting. Ciara McClean did some drawings, RTE weighed in behind it and the money was raised – doesn’t that sound easy! (It never is.) – through IFB, BAI, Section 481 and the first series was launched on RTE in May 2012 directed by Jason Tammemagi and Simon Crane and starring Aimee Richardson as Punky.

The impact the series immediately had surprised, delighted and humbled me and when PUNKY was nominated in 2012 for two IFTAs and one Celtic Media Award that year, it was a delicious bit of icing on top.

Series 2 was officially launched this February on RTE Junior. But it only exists because so many people believed in it, worked on it and made it happen. So to all the people who physically made the episodes, who promoted and believed in it and to all the people who have watched it over the last few years, this IFTA nomination is for you!  

Contracts -- the GLORY of knowing what to look for!

Spent five hours yesterday learning about contracts (and some stuff on copyright) with solicitor, Linda Scales at the Centre for Creative Practices. It was fascinating. Fantastic to realise how much I already know - from negotiations over the years - but wonderful to get those extra little gems.

For example, if negotiating by email, always add: subject to written agreement/ contract. Then you're not bound by what you agree until you're ready to be.

Ownership of the work is separate to ownership of the copyright. When work is commissioned, the creator retains the copyright -- unless the contract says otherwise. The commissioner merely gets a licence, express or implied.

A licence is a permission to exercise certain rights for specific purposes.

An assignment of the rights is a complete transfer but it can be for a limited period. This leads the the 'turnaround' clause I learnt the importance of many years ago -- ie if they have bought the rights to your material but haven't made the film/ tv series etc, all rights revert back to the creator after a certain period of years.

That electronic agreements seem to be as binding as signed hard copy contracts.

That you need to negotiate and specify exactly what rights you are selling -- and hold onto those you don't want to seel or can't assign a value to yet, to be negotiated at a later stage. Or work out terms by which you are willing to give them up.

Perhaps offer two price options - the cost of buyout of the rights and the cost of a licence with royalties.

Be very clear, that seems to be the message.

There is no contract if it can't be enforceable, that is if there is not a clear intent of agreement. For example, if someone says they will buy a script/ a piece of art when you're finished, if they like it, that is not a binding agreement.

There is no copyright in ideas, only in the creation of something from the idea - such as a treatment etc. Copyright is automatic in your creative work. It means you have the right to prevent exploitation of your work. The right to prevent others from :

1. copying your work, 
2. making the work available to the public, 
3. distributing copies of the work or 
4. adapting or making derivatives of the work. 

The copyright holder is entitled to control derivatives -- unless you sign them away. You can specify that the company licencing your creative material or buying some of the copyright must re-negotiate for any specific form of derivatives if you are uncomfortable giving up those rights or cannot know the value of them.

Then there was the debate re royalties versus a flat fee or a mix thereof. If the company are abroad, if if is likely to be a hassle chasing those royalties, is it worth accept a flat fee for the buyout? Aparently - and I hope I get the phrasing right here - if 11 words in a newspaper article are re-used in a piece by another author that reflect the reporters original creative intention, then that - according to some recent case - is regarded as "a substantial part" and an infringement of copyright.

And there was tons more. I also came away with templates for contracts for most anything I might ever need.

Now all I need is someone to offer me a contract so I can dig my teeth in and test what I know!