Producing a Cartoon Series

This section describes in summary the process of getting the green light to produce a cartoon animated series from scratch. It should hopefully give you some idea of what it takes for a cartoon series to get funded and produced.

1. Decide on a theme and the foundation of your cartoon series.

2. Think of the different characters that would make up your cartoon series.

3. Engage a good cartoon scriptwriter to develop a pilot script and a set of episodic synopsis based on your theme and idea. You would also want him to describe your characters in detail and breathe life into them. An experienced writer would know exactly what broadcasters are looking for and deliver an ace. I won't advise you to do this yourself unless you are an experienced writer. I also would not recommend you to get a scriptwriter who writes for TV dramas as the genre is quite different. Try to get scriptwriters that write specifically for cartoons.

4. Get a good design or animation house to design a set of characters for your cartoon series. Make sure that these characters are cute, unique, likeable and merchandisable - meaning that people would find them so cute that they want to make them into products! Alternatively, you can also go the edgy way, in which case the characters can look so cool that people just want to have them.

5. Compile the pilot script, synopsis, character designs, prop designs and various illustrations and you will have yourself what is called a character bible.

6. With a character bible, you can approach an animation house and ask them to produce a teaser or a pilot episode based on the series. A teaser is a 3-5 minute short of example how the cartoon series would likely run. A pilot episode is basically a sample episode from the series. For the pilot, never pick the first episode. Pick a middle episode because that will be more representative of how the cartoon series would usually look like. It would be better to engage an animation house who has done this before and make sure they explain their procedure to you.

7. From here, you can take two routes. The first route would be to approach a distribution company. The teaser or pilot would allow a distribution company to assess where they could sell your show and how marketable it is. They could gauge how confident they are in selling your show and if they want to distribute your show. If they do decide they want to represent your cartoon, they would provide a distribution plan and revenue projection. You should not sign any contract at this point because you can't guarantee production of the show yet. You should instead ask for a letter of interest from the distributor. With this letter of interest you can approach investors to show them that a distributor would take your show. It would help a lot if the distributor is well-known and reputable of course. This is an indication from an industry expert that your show is marketable. With investors on board you can approach an animation company to ask them to produce your show.

8. The second route you can take is to go to an animation company or a TV station to ask them if they would be interested to produce your show. If your concept is really good and they are in need of a show like yours, they might just decide to take on your concept and develop it. You could then negotiate for a royalty for the use of your concept, or even to be a producer or executive producer onboard the production team. This is all negotiable. It is also entirely possible for you to approach an animation company or TV station with just your character bible without your teaser, or even without a full bible. It has happened before, but the success rate declines dramatically with the lack of each marketing tool.

Pitching a cartoon is probably the most nerve wrecking moment for most people. What you do here is a song and dance routine where you attempt to seduce TV executives or cartoon producers to say yes to financing your show.

Here are some Q&A you might like to know regarding pitching a cartoon series.

What's the best way to actually budget the show and speak to a producer?

There is a certain formula to budgeting for a show by dividing it into 3 phases - preproduction, production and post-production. The percentage split is roughly 30-40-30 (in some cases 30-45-25) but can differ slightly depending on who you engage and where your work is being done. As for speaking to a producer, the best way is to meet them at TV Licensing shows, such as MIPCOM, MIPTV, Kidscreen, etc. Producers are usually open to discuss co-production opportunities at these shows, but do make sure you engage them as early as possible. Do your research on what companies will be going and look up their background to see if they are producing shows that suit your genre. Then write a polite email requesting for a meeting during the shows. Alternatively, you can ask to visit them. But meeting them at shows is a better idea because you can get to meet many companies at one such event.

Once you have completed your pitch package what is the next stage?

Answer: After you've completed your pitch package, hook up with a producer or an investor for a meeting! If you are looking for funding, clearly state your intentions. If you are looking for co-production opportunities don't be shy about it. Producers and investors will be quick to indicate any interest, although it does take much longer to close any deal.

Besides registered trademarks and the website domain names are there any other routes that are important to take in order to protect a property?

Regarding protection, you can copyright your materials by sending them off to international copyright offices for filing. There is one in Washington DC which you can file your works for a file, so that in the event of a dispute you can retrieve it from a recognized official archive proving when you had the materials officially submitted for filing. These can act as your backup proof and be retrieved during legal suits. You can also trademark your brand and characters under various categories in various countries if your pockets are deep enough.

Should you phone around/use contacts to get a Pitch Meeting or is it more important to first get an entertainment lawyer and/or agent?

Both are fine. There is no right and wrong. It all depends on who you know and who they know. What I am trying to say is - if you have the contacts, use them. If not, start from scratch. I did that.

With regards to the pitch, you don't consider myself the best public speaker, is it common place to hire a seasoned professional to pitch the idea?

I don't know if it is common. But I do believe it will help if you are getting a really good spokesperson. But at the end of the day, if your concept is weak and your character designs are not well-done, then even the best motivational speaker is not going to save the day. Also, while your speaker can do the pitch, you still have to do the Q&A yourself since you should know the concept much better.

With regard to the pitch, would it be frowned upon to create a video presentation pitch, then be available for questions afterwards and leave a CD behind, rather than doing the whole printed pitch bible thing and trying to sell it with your own mouth?

The answer is no, it won't be frowned upon. But do make sure that you keep your presentation short and straight to the point. Also, make sure it's really good because you have only one chance to impress anyone. The downside is - you might not be the only one sending in a pitch and they might miss your package altogether.

Are cartoons now produced at high definition? Or are they still 720 by 576. What is the standard these days?

More and more channels are picking up HD nowadays. Although they will still purchase 720 x 576, you might want to make your program in HD as more and more channels open up to HD. They will pay more for HD and there might be an eventuality that they might only accept HD shows. It won't happen overnight though.

Somebody once asked me if she can write but can't draw to save her life, can she ever produce cartoons?

I thought that it was a question whose answer should be shared, so here it is.

If you can write, but cannot draw or animate, what can you do to embark upon the path of cartoon production?

Well, believe it or not, a writer's chances of producing a cartoon is even better than an animator's!

Not convinced? Heard of the saying - "it's all in the plot"?

75% of a cartoon's success is dependent on a good concept and storyline, not how good the cast is or how good the animation is! Look at South Park! Do you call that good animation? But has the ridiculously simple flash animation stopped South Park from making families across the world roar with laughter and the producers from making obscene amounts of money? No! Yet South Park would just be a piece of crappy animation without the magic of the scripts! Incidentally, the producers are also the writers in most, if not all, of the scripts.

On the other hand, an artist is an artist is an artist. An animator is an animator is an animator. They usually just draw or animate. But please don't get me wrong. There are some multi-talented animators and artists who can think of great concepts and ideas too. Just that the specialization is somewhat different and if you start off as a writer, you are more in tune with the top line aspects of producing a cartoon.

Now, if you are convinced you can really write, you may like to follow the steps below to embark on your journey to produce a cartoon.

1. Come up with a strong story concept and think of all the characters that would be in the story.

2. Work with an artist either through a partnership or through outsourcing to create a character bible. If you are not sure what a character bible is, you can read up about it over here.

3. Look around for an animation studio that has a history of producing their own intellectual properties (IP). There are plenty of such studios around, so all you have to do is scout around for a suitable studio that has a history of producing cartoons similar to your genre of writing.

Here, you can either

(a) pitch your cartoon character bible to them
(b) or offer to write a few sample synopsis and a sample episode for one of their ongoing cartoon series.

You would be very very very lucky if a studio options your cartoon concept and decides to produce it! It usually doesn't happen for newbies because they don't like to take chances with newbies, but most likely it's because new writers just don't have the 'ooomph' factor in their ideas yet.

Either way, if you are really good at your writing, it opens up the opportunity for them to consider you for a writing contract. If you fail to get an assignment, politely ask the studio for the reason. If it's because they think you aren't good enough, it probably means you aren't good enough. You can go back to hone your skills some more or you can carry on trying. If more than 3 studios tell you the same thing it usually means you really aren't good enough yet. But practice makes perfect. If you keep trying you would probably get your first assignment,

4. Once you get your first assignment, cherish it like gold! Be flexible about everything (including payment) and cherish the opportunity. Don't do anything to destroy this silver bullet and do it like it's your first and last chance! Nobody likes to work with people who are too straight laced and the truth is - after you carve a name for yourself in the industry - companies will scramble for your services even if you are expensive. Don't be prima donna when you are just a newbie. In fact, my advice to you is never to be a prima donna :)

5. Try to be involved in as many parts of the production as possible. Ask to be involved in checking out the storyboards and offering your 2 cents on how you think the camera angles should play out. Ask to see the animatics so that you can give your opinion on the pacing and also the animation. You get the idea. Don't ask for extra fees because most studios would rather do without your help in these areas then. But you can gently request for some credits or offering your creative input. But don't be too pushy because studios rarely want to give producer or creative credits to a newbie, no matter how good you think you may be. The idea here is to get you as much experience as possible on other parts of the production pipeline.

6. As you get more experience working on such projects, you can begin negotiating for larger roles besides being just the writer. And the best part is, you can start pitching your ideas to TV networks and studios and you can bet some good moolah that they would want to listen to what you have to say!

If you're planning on producing a cartoon series or rolling out a kids' campaign with an animated character you might be interested in Kidscreen's three-part series on children's TV viewing habits.

The series covers recent research by Dr. Maya Götz of the International Central Institute for Youth and Educational Television in Germany.

Part one is boring and expected, pointing out that male leads overwhelmingly outnumber female leads in kids' TV shows around the world, and that most female characters are overly sexualized with unrealistic body proportions.

Part two is interesting. When Dr. Götz gave over 1,000 children between 3 and 12 years old a choice of three different versions of the same female cartoon character, 70 percent of girls and boys chose the naturally proportioned character above the ones with a thin waist and a chubby waist. Turns out boys and girls also both prefer to see characters who are kids themselves (as opposed to adults).

Part three of the series focuses on the character genre preferences of boys, noting that less is more when it comes to dialogue for little boys. No chatty Cathy's for them. Sounds like they prefer the strong and silent type.

So, create a monosyllabic, average-looking kid and you have your Romeo or Juliet!

It is very easy to think that character design alone determines the success and failure of a character brand and how many licensing and merchandising deals it can garner.

In actuality, the very first criteria for merchandising opportunities is mass exposure before anything else. Licensing agents and manufacturing companies are often opposed to taking on properties that look nice but do not have mass exposure.

Presuming we have achieved popularity for a certain character brand (for example Dandy the Lion), we have won 70% of the battle with the licensing people. They would have been convinced that Dandy the Lion is worth licensing. These are really our first customers. We need them to feel Dandy the Lion is worth licensing before they will take it to market.

The next hurdle we have to cross would be the end consumers - our secondary customers. They are the ones who determine the longevity of our brand and the real buyers who will convince the licensing business people that Dandy the Lion is worth licensing and worth continuing to license. Their purchasing rhythm, power and frequency will determine how long more W&W products can continued to be licensed.

Now, there are many categories of merchandise on the market as far as character brands are concerned.

Just to name a few:

- plush toys
- wooden toys
- stationery
- children wear
- storybooks and activity books
- boardgames
- video games
- electronic toys
- animation products
- product endorsements - eg. breakfast cereal, snacks, baby food etc
- store concepts and franchises
- and more

Very few character brands have been able to clinch a licensing deal for every single category listed up here - with the exception of perhaps some of Disney's top characters and Sanrio's Hello Kitty, and this was probably due to their own investments. It is nearly impossible to hope to have licenses for every single category even if you are a top brand. Besides luck and finding suitable partners, there is also the brand positioning factor to consider. This is due to the fact that not every character brand is suitable to be licensed for every category. It all boils down to brand recognition and identity.

For example, The Simpsons is extremely famous and popular but would it ever be licensed for an educational product? I doubt so. Parents would not associate something like The Simpsons to be educational, unless it was licensed creatively to give a twist to the educational factor.

With the above establishment of licensing and merchandising on a broad aspect, I would now like to discuss briefly how to determine if a character can and will be licensed from 2 perspectives - the business perspective and the visual perspective.

1. How to determine if a character brand is distinctive enough for merchandising from a business point of view?

Any character brand will be distinctive and attractive enough for the licensing people to license as long as it has achieved enough exposure. I would like to use Mr. Bean as an example here. Mr. Bean doesn't look good. In fact in my opinion he's downright ugly! But he has achieved enough exposure around the globe for the licensing people to pick him up and plaster his cartoon double on all sorts of products. The same can be said for so many other character brands found on the market today.

2. How to determine if a character brand is distinctive enough for merchandising from a visual point of view?

As mentioned above, it will be difficult to create a character design that can fit every every single category due to the fact that there are brand positioning issues to consider. However it is quite possible on the merit of character design alone to create a design that will fit most categories. However, I would like to mention that character designs only make up the foundation of the licensed merchandise. A lot more depends on how the manufacturers use the designs with their products. This goes into the brand assurance and product integrity strategies which a licensor will have to implement to ensure the integrity of the character brands.

I have received many questions regarding how licensing works, where to get started and where to look for licensees who would license your artwork. I have compiled a list of great industry resources you should check out if you are interested in this area.

The Licensing Business Handbook - The Licensing Business Handbook is a comprehensive introduction to licensing for property owners, product manufacturers and agents. It is jam-packed full of information on how to get started and what to look out for in the complex business of licensing.

Total Licensing Magazine - Total Licensing Limited is an independent publishing company dedicated to the licensing, merchandising and intellectual property market. It is the only publishing house to cover this massive industry on a truly worldwide basis. You can find a huge listing of potential licensees and licensors in the Total Licensing publications.

LIMA - LIMA is the grand-daddy association for companies and individuals engaged in the business of licensing - both as agents and as property owners. There is a wealth of resources and help available here and you should always refer back here.

Licensing Events - Licensing Shows that take place throughout the year. This is where licensees meet licensors and buyers meet sellers

Where is the best place to look for financiers?

Aldric's Answer: The best place to meet financiers from my experience are at international broadcast shows like MIPCOM, MIPTV and Kidscreen. Any such similiar shows on a smaller scale also fit the bill. As a visitor or a participant, you will receive a participant's directory. Look up who lists 'financing', 'animated series production' or something of a similar nature as their agendas, and write a nice polite email to request for a meeting. These kind of financiers usually come in the form of production companies, distribution companies, financing companies, government agencies and even banks. Be sure to check out their websites and see whether the shows they produce match your genre before contacting them. It's no good trying to sell a matured show to a company who has a track record of producing preschooler series. Try not to divulge too much of your property, but not too little that you sound overly cautious (some companies view that as untrusting them unless you are a big name already). Mention that you want to do a 'pitch' and ask them if they would be interested in hearing further. As far as possible, try to request for a meeting so that you can present your story in person. If you find that you need to provide more information before they want to meet you, provide a one-pager which describes your concept briefly but clearly along with some completed concept art. I wouldn't worry too much about copyright issues because you wouldn't get anything done otherwise. This is a business decision and I leave it to your discretion, but I would throw too much caution out of the window if I were you.

Where can you find sponsorship instead? We all know who can invest, angel investors, vcs, etc but how do you find these people and keep things legal?

Aldric's Answer: The above questions are similar to the previous. As mentioned, you want to visit international broadcast shows to find production companies and financiers. To keep things legal and water-tight, I would always advise anyone to hire a lawyer! If you are on a budget (as most of us are at earlier stages), then I would tell you to ensure that everything you divulge is accompanied by a NDA (non-disclosure-agreement). But be realistic in realizing that not every company may want to sign a NDA for a non-solicited pitch. Copyrights are assigned automatically as soon as you create your work. If you want double protection,

1) send everything by email and ask for return-receipts so that you have proof of sending
2) get NDAs signed
3) register copyrights with Washington DC Copurights Office
4) send a self-addressed envelope with your creative work enclosed within as soon as you complete your works (don't open your envelopes!)

I have some characters do you want to evaluate them?

Aldric's Answer: I would be happy to see them and give you my feedback. But we don't sign NDAs because we produce cartoon characters all the time too and we don't want to be accused of stealing incase our concepts are similiar to what you have. Although if we like your characters enough and they are unique, we may make a proposition to work with you. If you are uncomfortable with this arrangement, you don't have to do this. If you do, I will try my best to give you useful feedback.

Do you have a list of production companies or know of any looking to create a project?

Aldric's Answer: You will have to do this homework yourself unfortunately. I do know of many production companies that produce animation series all the time (my company Mediafreaks is one of them). But to be honest, this kind of information is something that you can find out on your own. Just look out for the credits at the start or end of the animated series on broadcast and find out the studios behind producing them. Look up their contact details on the internet and drop a nice email introducing yourself and what you want to do to them. Remember to find the animated series that best fit your genre.

I would be interested to know how you got the animation house(s) in the first place to produce the characters designs etc - did you raise funding and pay them (if so, how much do they charge) - or did they work for free hoping to be paid should the series be commissioned - or another way? And did you pay the cartoon script writer in the first instance? Also, once you got your Bible together, did you approach the animation studio and ask them to make a pilot/teaser for free - or what?

Aldric's Answer: The answer is - there is no hard and fast rule. Most studios will want to be paid. How much they charge depends on the medium and many other factors too complicated to discuss here. But most of them will have a rate card you can ask for.

There are studios who will collaborate with you based on wanting a share of the IP. They will probably only do this if they really like your property and they have some spare cash lying about with time to spare. This is tougher but possible.

I can tell you 99% of the studios will not work for free based on getting paid only if the show is commissioned. Why would they unless they are getting a share of the IP and a guarantee that they would be producing the series when it does get commissioned!

You should get out of the 'free' idea. Nothing is for free in this world. You will need to give up one thing or another. The fact is - the earlier you are in the stages of development, the more you have to give up. The studios will want a fair chunk of your IP or they will not have the incentive to help you.

So either you raise funding to engage the studios to do your work, or you have a good enough bible to impress them enough to work with you, bearing in mind that you will need to give up a share of your IP.

If developing a feature for the retail DVD market - is it practical to take a full script and storyboard (some artwork) to a distributor first to get a presale agreement - and then approach an animation studio, giving them some share in the IP? Or is it easier to approach film financiers once you have a presales agreement?

Aldric's Answer : It is definitely a good idea to have something to bring to a distributor - but it does not have to be a full script. The fact is - they probably do not have the time to read it all and you also do not want to have your script exposed to the wrong person. What you need is the character bible. I am going to write an article on what goes into a character bible soon, so do check back on my blog in the next few days.

Now, the distributor will not give you a presale. A presale means somebody purchased the program. First, distributors help to sell, not buy. So they can only get you a presale - and any sales are likely to be from a broadcaster. Also, the truth is, presales are almost non-existent in today's market. You need at least a few episodes before a distributor can do anything for you.

What a distributor can give you when you have your character bible is a letter of intent (to distribute) and some projections of how well the show may do if executed well. However, these projections usually mean nothing until your show is done and the distributor has something concrete in his hands. The letter of intent may mean something if it is from a well-known distributor. It will boost confidence in investors or animation studios to know that there is a heavyweight distributor who's interested to distribute for you if the show gets made. Basically this gives you more leverage in getting people to be interested, and also more bargaining power.

The fact about financiers is - they want as much as you can give them before they want to commit to anything. Sales, reputation, good concept, good artwork, good scriptwriter, good track record, good distribution, good everything! But these things take time to build and find.

Wait a minute. Isn't Options

Options is a common term in the financial factor but used in the animation industry context is only common amongst the industry players.

In essence, an option is a contract which conveys to its holder the right, but not the obligation, to buy or sell shares of an underlying security at a specified price on or before a given date.

Used in animation, an option can be understood as a contract which conveys to its holder the right, but not obligation, to buy or sell an animation property (or any such derivative) at a specified price on or before a given date.

For example, you might have a great idea for an animated movie and Steven Spielberg's just got to have it (don't we wish?), so he makes you an offer to 'hold' on to your idea, while he secures funding to purchase and produce it. But it doesn't mean he holds on to the rights of your idea forever. If the option contract expires and he still hasn't paid you the money to purchase your idea, then the option is rendered useless. Steven has just lost the money he paid you to purchase the option to hold on to your idea and you are that much richer!

I know this sounds confusing. Basically Steven will pay you for the option to hold on to your idea for a specified time. Within this option contract, it will also be specified how much he will pay you for the idea and purchase the rights for good should he decide to execute the rights to this option.This means he will pay you again to do a clean purchase of the idea off you!

So with the basis of this understanding what options are, here's the question below.

The Question: My first question is where can I find published reports (figures) of option deals and out right acquisition deals for the animation industry. So I can have a idea of what to expect going in, if a studio is interested. I understand that unknown properties have much less value. I have searched and searched.

My Answer: Option deals are very hard to pull off if your studio doesn't have a precedent in such deals and/or if any of the top line creatives involved in the project (especially the EP and the scriptwriter) do not have prior credits that are impressive. The buyer would do all he can to undermine the value of the project. In a way, there is no way to determine the true value of the project since there are no precedents in your studio nor do you have a EP or scriptwriter who have had successes with other projects before. The ball is pretty much in the buyer's court and he can give any figure he wants - and in most cases it won't make you smile all the way to the bank. The best route I can think of is to consult an entertainment lawyer or agent who have pulled off such deals before for other projects. They would likely be well-positioned and knowledgeable enough to find precedents off the industry or deals they might have structured to apply it in your case. But be careful not to sign any rights away at all! Treat this as a non-exclusive (or exclusive for a short period of time) service where you will pay off the attorney or agent a proceedings from the deal. (Usually 15-30%). Your other option would be to pay off those guys directly with no backend from the deal. It's all up to you.

Unfortunately what you are searching for is also what a lot of people are searching for (including myself!). These figures will be very hard to come by unless you work through entertainment lawyers and agents who have been there, done that. Alternatively you can dig into the annual reports of listed animation companies who might have written information of their deals. Lastly it wouldn't hurt to have a few good friends in the industry. They might just be able to shed some light on what their companies been acquiring for how much recently :)

More Regarding Options: If you are still confused about Options are you are just curious to find out more, you can visit a Squidoo lens I put up regarding Options Trading.

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