Originally written: January, 2002. Latest update: June 18, 2017.

I. INTRODUCTION - THE TOPIC THAT REFUSES TO DIE

Q: "I have a great idea for a game. I'm not a programmer and I don't know anything about the game industry. How do I pitch it to publishers to get funding so I can develop it?"

I wrote extensively on this, in FAQ #1. But this topic just never goes away. I have been in many discussions about the topic since writing FAQ 1, some years ago now. And I've thought of a lot more to say that was not covered in FAQ 1. (It should go without saying that you ought to have read FAQ 1 before going further. After reading this FAQ, should you decide to proceed anyway, make sure you also read FAQ 21, all about the submission process.)

Let's assume that you have written your game concept into a full-blown design document. Anyone reading the document will understand the full glory of your concept, in exacting detail.

You cannot sell it and make money.

You cannot pitch it to publishers and get funding to develop it.

Especially if you are just some guy on the street (that is to say, if you do not work in the game industry).

As is explained in FAQ 1.

IF YOU WANT TO GET THAT GAME CREATED, YOU NEED TO BE IN THE INDUSTRY. (Sorry for shouting there. I wanted to make sure that you heard me.)

II. POSSIBILITY VS. LIKELIHOOD

I'm not saying that it's impossible for you to sell your game idea. I acknowledge that it is, in fact, POSSIBLE.

It is ALSO possible that Santa Claus colluded with green men from outer space to get the dinosaurs killed off so that he could have humans to make toys for. I didn't say that this theory of life, the universe, and everything, was likely. I merely acknowledged that it is possible.

I just wanted you to get a realistic understanding of what I mean when I use the word "possible." Something that is "possible" in theory is not necessarily likely, in the real world.

Point understood?

III. TWO FACTORS

There are two factors to take into consideration in determining one's chances of success at getting anything for his game idea:

a. What level have you taken the concept to? (At the bottom of the scale, all you have is an idea in your head - at the top of the scale, you have a complete programmed working game.)

b. What level have you attained in the game industry? (At the left end of the scale, you own a professional game development company - at the right end of the scale, you are just some guy on the street.)

To examine these two factors in greater detail...

III.A. WHAT ARE YOU BRINGING TO THE PRESENTATION? PAPER DESIGN VS. TANGIBLE, PLAYABLE GAME VS. ...

The chances that the experienced, proven designer has of selling a paper document and making money are considerably lower than his chances of selling a completed, programmed game.

For a person who is not in the game industry to sell a paper game design, the chances are much much lower. A lot of people become millionaires via lotteries (one or more a week, here in California). I've never heard of a non-industry person getting money for a paper game design document.

Do you personally know anyone who won millions in the lottery?

I am NOT saying that it's impossible to sell a paper document. I'm only saying that it's very difficult, due to the odds stacked against you.

The point of saying this is not to discourage you from writing down your game concept. It's to encourage you to find a different way to proceed after you've written it down.


III.B. WHO ARE YOU? INDUSTRY PRO VS. INDUSTRY OUTSIDER

For someone who is an experienced, proven game designer, it is remotely possible to sell a paper game design document and get funding or royalties.

For someone who is an industry outsider (an ordinary guy on the street who just happens to have a game idea), the chances of selling his paper game design concept are much, much lower.

For the experienced pro, I said that it's possible... but it does not happen often. Even industry professionals find paper designs to be a very tough sell. (See the success matrix below.)

Below, you will see how the above two factors can be put together to form a matrix - a matrix that shows your likelihood of success depending on what you present, and what level you are at, in (or out of) the industry.

IV. WHAT TO DO WITH A COMPLETED DESIGN DOCUMENT IF YOU ARE NOT A GAME INDUSTRY PROFESSIONAL

1. Don't try to sell it. Nobody will buy it. Don't try to get funding - you'll just frustrate yourself. You're not ready yet. But there is a lot you can do to increase the likelihood of that game becoming a reality... if you are passionate, patient, and persistent... As the Japanese say, ganbatte kudasai ("hang in there, baby!").

2. Copyright it. Either register it with the US copyright office or just write "copyright 2002 [your name]" on it (preferably on each page, perhaps in the footer or header). Get a Nolo Press book (FAQ 8), and explore the Nolo Press website about copyrighting. Also see FAQ 39.

3. Put that design away and forget about it for a while. Start working on another idea, write that one down, and copyright it. And another. And another.

4. Get a college degree, if you haven't already and if you are not past your early twenties yet.

5. Get a job in the game industry.

6. Two years after accomplishing step 5, go get that old design out again, blow the dust off it, and read it again. See if it still blows you away. If it does, show it to somebody you trust in the industry. Get their feedback.

7. Put it away again. Or work on it some more first, then put it away.

8. Have you (through your years of experience in the game industry) designed or otherwise been involved in creating a triple-A hit game yet?

- If no, go back to step 6 or step 3 (you do not need to repeat steps 4 and 5, don't be silly).
- If yes, go on to the next section.

V. WHAT TO DO WITH YOUR GAME CONCEPT ONCE YOU BECOME A GAME INDUSTRY PROFESSIONAL WITH A TRACK RECORD

A. Why are you reading this? You're a game industry pro. You already know what to do. You don't need to be listening to me. Just go do it.

B. If you are not a game industry pro and you're just reading this to learn, read on.

So you contact some publishers and find out who the submission manager is, and initiate contact with several. Let's examine one typical case.

After you first contact the manager of submissions, even if you are already in a business relationship with them (perhaps you develop games for them), they will probably require that you sign a submission agreement.

Then you can submit your game. Your chances of having it accepted (your chances of licensing the game to them or of getting a distribution deal) depend on the form of your submission. In decreasing order of likelihood:

1. If you provide them with a completed game, and you present it to the publisher in person and you have, waiting in the wings, a professional developer ready to make any required changes or ports, you are most likely to get a deal (especially if that professional development company is yours). 90% rejection rate.

2. If you provide them with a 2/3-complete game, you are less likely to get a deal. 93% rejection rate.

3. A 1/3-complete game is less likely to get a green light - 95% rejection rate.

4. If you come to the table with a working interactive demo of a game, you are less likely to get a deal. 97% rejection rate.

5. If you provide them with a videotape or other animation that shows what the game might look like, you are less likely to get a deal. 98% rejection rate.

6. If you bring them an idea on paper (and no developer standing ready to make the game at your behest), you are less likely to get a deal. 99% rejection rate.

7. If you present the idea verbally, you will not get a deal.

8. If the idea exists only in your head, you will not get a deal. You have to express it in tangible form. I mean, seriously - are you living in the real world, or are you just a dreamer with his head in the sand?

REMEMBER THOSE TWO FACTORS I MENTIONED ABOVE (in section III)? HERE'S THAT MATRIX...

Taking the ideas presented above, and also taking into consideration the possible matrix from "I own a game development company" all the way on down to "I don't work in games, I'm just a guy with a game concept," you can consider it as being a grid like this:

Conversely, these "rejection rates" convert to "success rates" thusly:

It is hoped that you get the general idea, without getting hung up in thoughts like "How did he calculate those numbers??" - the numbers are just to illustrate a point. There is no way to actually calculate hard numbers, so I made these up, based on my twenty-plus years' experience in the industry.

Here is how I arrived at these numbers:

A publisher probably gets ten finished games to review for every one game that they decide to publish. Or (another way of looking at it) a developer probably has to take his finished game to ten publishers before he finds one to publish it. And the finished game is, of course, the most likely to succeed, compared to any of the other possible submission formats listed above.

So I plugged in numbers to illustrate the point.

You may have noticed that the success rate for a non-industry, non-professional with a completed game is the same as that for a professional game developer bringing a 2/3 complete game to the table. If a non-industry, non-professional were to manage to actually make a completed game, then guess what -- that guy is THIS CLOSE to being an industry professional. When you make a completed game, guess what you are? Inside.

If you want to get your game accepted, you need to be in the yellow area on this matrix. You do NOT want to be in the gray area.

VI. WHY?

What do you mean, "Why?" Do you mean, "why does the industry make it so difficult for me to make money from my idea?" Isn't that the same question as "why doesn't everybody want to just throw millions of dollars out the window?"

It's all about managing risks.

The game business is... a business.

Some guy waltzes in with an idea, and they should just give him a million bucks? I don't think so!

• They want to see what they're buying (they want to see a finished game).
• They want to know, if the game is not yet finished, that the guy pitching it is capable of taking it all the way, in a professional manner that takes the realities of the industry into account.

VII. "THAT'S SO UNFAIR!"

No, it's not. Take off the rose-colored glasses and see the world for the way it really is. Besides, even if you could make a good case for it being unfair, what's your point? Who ever said the world was fair? Remember what I said in FAQ 3, about whiners versus winners. Whiners are people who go around constantly complaining about the unfairnesses of life. Winners are people who figure out how to deal with the unfairnesses of life and get what they want in spite of it all.

Which do you want to be? A whiner? Or a winner?

VIII. "I DON'T CARE IF I GET PAID..."

That doesn't change anything. I have often heard, "I dont care if I don't get paid - I don't care if my name is on it or anything - I just want to play the game." -- It doesn't make any difference. Games cost too much to make. Besides, even if you don't care about royalties at this moment, intellectual property laws would be invoked at some point by someone. Game companies can't take the risk of using someone's idea without paying. There's too much money at stake.

IX. A BETTER WAY

Now we've come around full circle to where we were at the beginning of this article. I don't want to discourage you from writing down your game concept. I want to show you a better way to proceed after you've written it down.

If you have a passion for designing games, and you are not yet in the game industry, then I hope that you are planning to get into it. It will require hard work, and you'll have to be patient and professional. But if you want to make games, I don't see any way to do it except from the solid footing of being an industry professional.

If you have game ideas, write them down.

If you love games, play them. Chat them up on the forums.

If you see opportunities to beta-test games, go for it. Participate in game contests and online events.

If you don't have a college degree yet (and you are of college age), then get that degree. Then go get a job in the industry. (It is harder to get a job without a degree, but it can be done. See FAQ 3, FAQ 4, FAQ 5, and FAQ 7.)

But I hope I've explained it sufficiently. If you want to make games, then where else should you be, but in the game industry?

If this still doesn't make sense to you, then by all means post your questions on the Game Design bulletin board!

---

390 times a month!

>From: Wayne
>Sent: Wednesday, October 21, 2009 10:59:44 AM
>Subject: re: http://www.sloperama.com/advice/lesson11.html
>Hi Tom,
>I stumbled on your site today after doing a search for "how to sell a game", your page appeared as #1. It may interest you to know that the phrase "how to sell a game" is searched for world wide in various incarnations 390x per month.
>
>I have a question regarding your suggested success rate estimation. What if the designer brings a completed design document to a development firm, not a publisher and has skills in site promotion and business? I have a game design on paper, I'm not a programmer but I do have a creative mind. You mentioned in your article that getting the game on the market involves risk, this is true for any product. In my case, I have extensive skill in website promotion and since my game is intended as a PBBG, there would be no distribution costs and no "publishers". What is required is a designated server(s), a strong connection, and a website to host the game conten as well as programmers, artists, and community/game moderators. I assume you are familiar with PBBG's and their increasing popularity as a gaming niche....
>
>I'm gainfully employed in the SEM field (search engine marketing) and I manage a web marketing department in a small advertising firm. My skills allow for me to achieve rank on search engines and bring paying customers to sites so while I'm not a programmer, I could certainly bring something to the table that will help to reduce the risks involved. In fact I have a modest PBBG site now that brought in 955 absolute unique visitors last month and averages the same (this is about 50% of the US Market for people searching for PBBG's). In addition to this I also have a monetizing model to be applied to the PBBG, this model is well known and has worked for many great and successfull PBBG's, there is no need to reinvent the wheel, but I can certainly apply some oil. So considering what I can bring to the table, how much do you think this would factor into the success rate of selling my game to a development firm?
>Best Regards,
>Wayne M
>(AKA Whane The Whip)

Hi Wayne,
390 times a month, huh. How 'bout them apples. You wrote:

What [would likely happen] if the designer brings a completed design document to a development firm, not a publisher and has skills in site promotion and business? ... since my game is intended as a PBBG, there would be no distribution costs and no "publishers".
It costs money to host the game, maintain it, and market it. That is called "publishing." And apparently you are saying that it would cost nothing for the developer to create the game? Or your plan is to convince them to change their business model to yours, based on your confident sales pitch to them?

I assume you are familiar with PBBG's and their increasing popularity as a gaming niche....
You shouldn't assume. You should have gone to the extra trouble of typing the words "persistent browser-based game" and told me a little about the genre.

So considering what I can bring to the table, how much do you think this would factor into the success rate of selling my game to a development firm?
Despite your assumption that the developer will not have to spend any money to create your idea, my answer is:



As I understand it, you're saying that my chart in FAQ 11 doesn't apply to you because:
You are such a good marketer and salesman;
The game is a persistent browser-based game, not a typical MMO or console game or mobile game or Flash game or whatever;
You are pitching it to a developer (who has no money) rather than a publisher (who has money);
A "publisher" isn't needed (so you say).

I fail to see how these things invalidate the chart. If you want to explain to me what I'm missing, you're welcome to do so.
Tom Sloper
Los Angeles, California, USA
October 21, 2009

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Name: George Collins
Age-Ed-Occ: too old, not enough, yes thankfully!
Date: 05 May 2002


Comments

Tom, I love your site. I really enjoyed your table in lesson 11. I was sharing it with co-workers. I love making games but I know we just come to publishers with ideas so they can say.. "wonderful concept, but why don't you make this sequel or that movie license instead?" Such is the way of the world.

I think your table neglects two things: friends on the inside of a publisher and unused / underused IP of the publisher. As you know often times publishers license something (or want to license something) but they don't have a team lined up for it. Those things help, but I still don't think they get you below the 80% rejection rate. Also development costs and platform also factor in. A PC project with very low development costs can be attractive because the cost to market is lower and more niches exist. Low development costs can help on console projects, but matter less then the reliability of the developer.

Really interesting-- George Collins

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Name: Tom Sloper
Date: 05 May 2002


Comments

Hello George Collins,

Good to hear from you!

Re: friends on the inside - i.e., "Here's my great game, I can't get it made myself, but I know someone who can." Well, I suppose it might be possible to get your game funded if you are well connected with an industry insider. I guess it would be about as likely that way as if you were in the "professional but not in industry" column.

Re: "unused / underused IP of the publisher (often times publishers license something (or want to license something) but they don't have a team lined up for it)" - So you're suggesting that if the submission uses the licensed IP, that this increases the chances of getting the game funded? Perhaps so, depending on other circumstances...

Re: development costs and platform - Again, it depends. Lower development costs sound good on the face of it, but there is also an implication of concomitant lower production values. And platforms are very much publisher-dependent. Some publishers specialize in PC, some in console. So the pitcher has to make sure that the pitch is being made to someone with the right kind of catcher's mitt.

I had a couple of goals in mind when I made that grid - (1) I wanted a clear illustration of the reality of the situation for outsiders who have "a great game idea," and (2) I wanted to keep it fairly simple. Certainly there are several other factors besides the two sliding scales of (a) who is making the pitch and (b) the level of completeness of the game being pitched.

For a situation where there are more than two sliding scales, a simple grid such as I show in Lesson 11 won't hack it. One would have to have several sliding scales, then, I suppose, and even one or two "binary" (true/false or yes/no) attributes. Then one would have to supply numerical scores to each scale and binary attribute, and the overall score would then show one's chances of making a successful pitch.

I'll probably add this discussion to Lesson 11, in order to more completely flesh out the concepts therein. If you have more thoughts, send'em on over!

Oh. And I hope to run into you at E3 (assuming you are the George Collins I think you are). - Tom

---

Name: [Omitted]
Age-Ed-Occ: 18Teen
Date: 06 May 2002


Comments

I would like to know if you could make a better bloody roar game for the x box system because it is hard to get into game development . But if you can create a better bloody roar game please make it for x box or playstation either is fine with me .But please if you can make it add these players,Yugo,Long,Greg,Alice,Gado,Xion, Shina,Stun,Bakaryu,Fox,Mitsuko,or if you can't do this well thanks for listening but if you can i'll buy it for $600 dallors.Or Make A RPG Fighting Game With a Tiger,Ape,Fox,Warthog,Lion,Wolf,Leoard, Rabbit,Mole,Unborn,Beetle,and more,you know like bloody roar games,so if you make i'll pay $600 or more.

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Name: [Omitted]
Age-Ed-Occ: 13;Community High School;still in school
Date: 10 May 2002


Comments

You should make a game where you start out with $300,000.00 called "Hoppin' Hydraulics." You go to the car lot and buy any kind of car you want. Then you go to a place where you can paint your car. Then go to a place where you can buy hydraulics,NOS,tires,or anything you need. Then,if you are ready,go and enter all kinds of hydraulic contests,racing contests,or just ride the steet showing off you car. Make it for Playstation one and two,and computer. Thank you for listening.

P.S. Can you send me one to test? I will write back telling you if I like it or not.

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Name: Tom Sloper
Date: 10 May 2002


Comments

Guys, guys! What you are suggesting just isn't possible. It costs $2 to 3 Million to make a video game, and it takes about 2 years! That's nice that you're so enthusiastic about your idea, but nobody can make a video game just for you, unless you happen to be rich and can supply the $2-3 Million - and are patient enough to wait the 2 years. Why don't you take a look at Lesson 10 to learn a little about the process, and Lesson 7 to learn a little about the different jobs in games (look at all the people it takes!). And see Lessons 1, 11, 2, and 13 for information about what to do with your ideas.

Make sure you also read FAQ 21 and FAQ 35, all about the submission process.

And read FAQ 31 ("What If I Have The Ultimate Idea, Though?").

And read Dan Marchant's guide for pitching, at http://www.obscure.co.uk/the_pitch.shtml.

Click here for extracurricular reading material, about the finances involved in game development.

I hope this article has been helpful. If you have suggestions for improvements to this article, or to report dead links, please put them on the bulletin board.
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