screenplay or teleplay

I don't think I quite understand what you're asking possibly because the terminology is different on this side of the ocean. So I'll break it down in my terms to see if I can understand what you're asking.

For me a screenplay or feature script is a stand alone or possibly series (I.E. Sequels Nightmare on Elm Street ect.), but it's a feature between about 90-120 pages. It is not a series you would find on TV, but rather a movie.

There are mini-series that are longer, generally about an hour per episode with only about 6 to 12 episodes from what I've noticed that only run that long. They do not come back for another season and do not run the full season. They are more like a really long movie chopped into pieces. Stephan King's Rose Red was like this. And I rather liked the series Jekyll (sp) from England.

There are television series that the studios want to run several seasons if it is successful so they can rake in a lot of money. In the US there are I think 24 episodes per season. If you can get a 5 season run or longer with a good following you've had a fantastic series.

So my question is, which does yours fit in? Is it an ongoing with five or more season potential? Is it one really big long series so it would be more of a mini series? Or is it a single contained idea that would fit better as a feature?

Sounds like it's really a personal call then. Do you want to write a series with a pilot and a bible and series overview and pitch it or a set of features and pitch it?

Consider approaching it as a 100 page script. Especially before going to the trouble of a bible, which is for other people and way down the road for a project not yet written.

During the creation of what might turn out to be a pilot or a feature screenplay depending you might find things gelling up in your mind. Perhaps a good, "closed" idea for a movie script, perhaps a story arc vision that makes it really clear to you that you're working on a series and how to open it.

Consider writing the two hour script in teleplay form... which is to say with short acts of diminishing length, each with its own "cliffhanger" or punchline, the way a TV show pauses for advertising. This is hard to do after you've completed a screenplay, but if done first, collapses nicely into a script and the act breaks just become compelling scene closures.

Once you get that down, you're in a position to approach both TV and film markets. If it doesn't pan out as equally useful in both media...then you have your answer.

WriterofChaos said:

yeah I was thinking it probably is a personal call.

I think I'll write a T.V bible, never wrote one before but from what I understand. It is very similar to writing a synopsis for a film idea but instead its a bible on each planned series?

also do you mean pitch here on the forum?

ty for your help icerose, appreciate it.

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No, I meant pitch it to producers and agents and such.

WriterofChaos said:

New to the forum as you can see on the left of this post. So uncertain if this right place to post this but looks like it is.

I have an idea for a story but uncertain if it more suited for a teleplay or screenplay. I guess it really up to me on what format I write it for and I would prefer to write a teleplay. I'm not to certain I have the patience to write a screenplay, as it is on-going. With teleplays, I feel you can write an episode, then move on from there, each episode is like a finished article I feel, unlike a screenplay, which constantly goes on. Hope people here can understand what I mean there, not sure if I explained that very well.

However, the story I have been thinking on for a long time now, I have been thinking in the pretense of writing a screenplay. So caught in two minds on what direction to go here with this story.

I've written some small screenplays before when I was at college on a film course but it wasn't for anything more than small 15 minute productions. So am I more familiar with written screenplays than teleplays. However, I would state that I'm relative new still to writing screenplays and certainly new to writing teleplays.

I'm basically looking for advice on how to decide if my story is more suited for a screenplay or a teleplay. I realize without knowing the story, no-one hear will be able to say for certain but any tips anyone has would be much appreciated.

Also any tips on how to write a teleplay compared to how you write a screenplay would be helpful as well. I do have the final draft program, so formatting the teleplay should be easy enough but would certainly welcome any advice on the different formats.

thanks

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If you're interested in mastering the writing of teleplays, the best advice I could give you would be to download actual episodes of produced teleplays of series that you like and see what they look like -- how the act breaks space out, how many pages they are, etc.

Then my advice would be, before you start working on your own stuff, to try writing a sample episode of some other series -- write someone else's characters, to someone else's world. Stick to their rules, their format, their limitations, their voices. Train yourself by writing a respectable episode of Law & Order or some other show.

Then you might be in a position to more confidently write your own material.

But something that you should be aware of.

You will not be in a position to sell it.

Those that are in the market to buy series only buy them either from producers who have already created and produced series, or occasionally from television writers who have long and demonstrated track record in the business or from writers or producers in motion pictures who, likewise have a demonstrated track record.

The key word is *track record.* And what you have to realize is that even among many dozens of writers, producers, and showrunners who have extensive track records and pitch series in any given year, most of them won't be able to sell what they pitch. Of those that do manage to sell a pilot script, most won't be shot, and of those that are shot as pilots, most aren't picked up.

And in recent years, things have gotten even worse. Many fewer pilots are bought. Many fewer pilots are shot.

So the cold and simple truth is -- an unsold writer of a television series is simply not getting in the door.

Maybe if you were a successful writer of Hollywood features and you wrote a television series, you might have some luck. But you aren't.

You've sold nothing at all. As someone who's sold nothing at all, you have some chance (not a great chance, but some chance) of selling a feature.

You have some chance (not a great chance, but some chance) of selling an episode of an existing television series.

But you have no chance of pitching, writing and selling an original television series.

NMS

But you have no chance of pitching, writing and selling an original television series.

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I had no TV credits or screenplay credits or an agent when I got my original TV series optioned by the second biggest UK production company. I was paid for each stage and had to write:

a one page pitch (which got me the deal)
a series bible
episode one
episode 1- 6 outlines (page each on episodes 1 & 2, paragraph on episodes 2-4)

There were going union rates for each stage, and as a new TV writer I had two script editors to help me with it all, plenty of meetings and hand holding and they helped polish everything up before it went on to the producer. I really enjoyed the experience and was paid well and really supported throughout but in the end my producer left for another company and the project was passed on to the development abyss. After a contracted amount of time the rights reverted back to me which meant my new agent could take it all and try and sell it elsewhere. Writing the bible was an essential part of the process. It was my first TV script and I learnt loads by following the expected procedure and learning how to develop a TV series idea with all its component parts.

Yes it is hard, harder to see it made into a pilot and then made into a series but if the right person likes your work it is far from impossible.

endless rewrite said:

I had no TV credits or screenplay credits or an agent when I got my original TV series optioned by the second biggest UK production company. I was paid for each stage and had to write:

a one page pitch (which got me the deal)
a series bible
episode one
episode 1- 6 outlines (page each on episodes 1 & 2, paragraph on episodes 2-4)

There were going union rates for each stage, and as a new TV writer I had two script editors to help me with it all, plenty of meetings and hand holding and they helped polish everything up before it went on to the producer.

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I am a new writer, no agent etc but have someone interested in my script on the basis of a one page pitch and reading the script itself - I am sure they are going to want some changes made and there has been no mention of payment. What should I be wary of? How much work is reasonable for a new writer without payment?

WriterofChaos said:

I really have no idea on this but also interested to know answer to your question. Also congrats on the interest on your script.

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Thanks!

Keep working on the one-page. I have to say I really enjoy that part... although I sometimes worry that my script won't live up to it!!

I was unusually lucky to get paid in stages for each part of the work as and when I did them though I do not think it is unfair for a company to want to see a full script before offering payment as well as a page outline. Lots of people have great ideas for scripts and can develop a good page pitch or synopsis but production companies need to see that you can also write good dialogue, develop three dimensional characters and tell a compelling story in script form. I sold my idea with an initial pitch but the producer and others also read a supporting spec script of mine, a theatre play which they liked.

The Writers Guild have set guidelines for how much you should be paid for work in development which you could use as a guide. But the business and competition is tough so work on a first draft of your TV idea or have a good full length spec script to send in. You will often find yourself working on ideas without payment upfront and only you can decide how much work is worth doing before you either make things formal with a contract, jump ship or get dumped.

The problem is that there are plenty of people willing to go that extra mile for less than the usual fee or no commitment at all. An agent will protect your interests but you'd have to have a script or two to get them representing you in the first place so either way you're going to have to start putting out to reel a deal in. The last thing you want is to have nothing or enough to show when somebody shows interest in your work but if they are interested enough to ask for rewrites etc then it is not unreasonable to want a commitment in terms of a contract or development money. The truth is you are going to have to do a lot of work for free as a writer until you are in a stronger position to negotiate or have an agent to do that for you. I've done it plenty of times, often against my better judgement and without a doubt will have to do it again.

endless rewrite said:

You will often find yourself working on ideas without payment upfront and only you can decide how much work is worth doing before you either make things formal with a contract, jump ship or get dumped.

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I expect I am going down this route. It was a producer who liked the pitch, we met, they asked for and read the script, they passed script to a script editor...

WriterofChaos said:

I have so much to my story, that I'm finding it hard to condense it into one page. Therefore, I'm wondering if it acceptable to actually write a one page pitch on each series?

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I'm not sure but I think you might have to write a pitch that encompasses the story as a whole if it is a series - not all the whys and wherefores or ins and outs, but - Main characters, setting, theme, the exciting/intriguing/dramatic/emotional elements. Perhaps there is a thread on how to write a good pitch document on this site?

Don't know if this helps as it is only for a 3 parter - I have recently completed a drama proposal. It is 9 pages and contains - Title page, tagline, a one-page premise of the story as a whole, brief character bios and one page treatments for each part.

Of course I could be doing everything wrong!!! This is just my experience so far...