In case you missed it, you really should read this article on negotiating tricks and how to get what you want.

After all, as writers (and directors, parents, children, friends, customers, comrades, etc) we’re always negotiating. It’s the essence of good pitching (as Ayesha Varda - negotiatorwell as playing an important part in other skills, such as treatment writing, and indeed screenwriting itself).

One thing that comes through all the interviews, again and again, is the importance of listening. Putting yourself in the place of the other person. Knowing what they want and what they need. Understanding characters!

Negotiating tricks aren’t about being clever

Despite what people think, and say, powerful negotiating – like pitching – isn’t about pulling a fast one or being clever. The best deal is one where both sides feel happy. When you pitch, you want the producer to feel they’ve got what they want – a great idea, a makeable film or TV programme, a clear vision of the concept and possible audience…

When you deliver what they want, they’ll deliver what you want.

If you want to do more on pitching, I still have one place to fill for the Selling and Pitching Masterclass this weekend (Jan 24-25) in London. Grab it while it’s still there. Pitching is the great accelerator. The ability to pitch will boost every aspect of your career – from creating a strong premise, to understanding how your story works, and so how to bring the best out of each character, scene or line of dialogue.

And of course, being great at selling your work. See more details and book online here now while that place is still there.

And here’s the article – How to get what you want – negotiators on the tricks of their trade.

Tell me what you think.