RULE NUMBER SEVEN: When They Stop Listening, Move On! How will you know? It's easy. Just watch their faces. Of course, we're not talking about the obvious things here, like yawning, looking at their watch or answering a phone that hasn't rung. These are highly educated people, well-versed in the fine art of hiding their true feelings. Most of them will at least make some small effort at politeness and try to appear interested even when they're not. So you have to look beneath the surface. When you drop that killer story twist on them, that big emotional moment you've been building up to, it should warrant more than a slight smile and a barely perceptible nod. You're looking for raised eyebrows, genuine surprise, active interest or most importantly, what you hope will occur in the next rule.

RULE NUMBER EIGHT: If The Executive Starts Talking, Shut Up! "My story takes place at a remote mountain resort ..." you begin, and the executive says, "Like in Alaska?" "Yes!" you shout gleefully as you secretly scratch the word "Colorado" off your note pad. "And, the hero is a hunter ..." The executive jumps in. "Of bears!" My God! It's uncanny! Of course, it was originally mountain lions, but hey. Because, you see, you know you've got the executive hooked when he begins to add elements to your story--when he starts to run with it. If it's something he likes, something that shows promise, the immediate urge to put his personal stamp on the story takes over. If he starts pitching back to you, let him! It means you've won. For God's sake, don't correct him! ("Actually, Colorado is better, because ...) No! You've sold your story. Don't fight it. Of course, the resulting changes may not resemble the story you originally started with, but that's not the point. The point is, you got the job and that's what you're here for. So, don't stay married to your original concept. Instead, fall in love with the one he pitches back to you,  regardless of how much it might suck.

RULE NUMBER NINE: Use Your Last Pitch To Set Up Your Next Pitch. The technique is a lot like name dropping at an industry party. It lets people know you're in the loop. You've already pitched at one honest-to-goodness company, so you must not be a complete flake. When you call in hopes of setting up another meeting, feel free to let it slip that you just met with Producer Joe Dynamic over at Residual Films. Maybe it was even Joe who suggested you call them because you've got a couple of hot ideas that are just right for their company. At least, that's what Joe thought.

RULE NUMBER TEN: Follow Up. There are many reasons for following up. For one thing, it keeps the door open and it is an excuse for you to call someone who otherwise might never take your call. It keeps your name familiar. It's also an opportunity to bond, however slightly, with some of the most important people you will ever encounter in the business: the receptionists and personal assistants. Don't make the mistake of looking down your nose at these "underlings." They are a direct pipeline to the people you need, and their feelings about you could mean the difference. Besides, some day soon they might be running the show. Acknowledge them. Learn their names and make them your friends.
The most important reason for following up, though, is to let those producers know how grateful you are that they allowed you to pitch to them. And you should be grateful. In a nation of nearly 300 million people, on a planet of billions, there are a meager 11,000 or so privileged enough to claim membership in the Writers Guild of America. Of those, only a fraction will be granted an audience with a legitimate producer or story executive in the course of a year. It's an elite club, and now you're in it. Whether your stories were accepted or rejected, you've already won. Enjoy it.