I am begining work on a TV pilot and was wondering if there is any difference in format, expectations, structure, etc, that i should be worried about. The pilot is to be an hour so 15 minutes act 1, 30 minutes act 2, 15 minutes act 3, or a variation on that. I guess what i wnat to know is there any major difference for writing a TV pilot for a dramatic series?
Writing a TV series pilot
- Thread starter DoubleIT
- Start date
I've never written a TV pilot and had it made into a series, so I really don't know. Those who I know who are currently planning a TV series (with the active support of a TV channel) are more concerned over the show Bible than the pilot episode. That may just be an Australian thing, rather than the way it is done in the USA.
However, ZODITCH is an old hand at message boards, and I know at least one of his pilots got made into a successful TV show. And he's from the USA.
Try asking him (and others!!) on this board:
http://www.tvwriter.com/cgi-bin/dcforum/dcboard.cgi?az=n_mesg&days=3
He's always very helpful, but you may not like his answer.
Mac
However, ZODITCH is an old hand at message boards, and I know at least one of his pilots got made into a successful TV show. And he's from the USA.
Try asking him (and others!!) on this board:
http://www.tvwriter.com/cgi-bin/dcforum/dcboard.cgi?az=n_mesg&days=3
He's always very helpful, but you may not like his answer.
Mac
I write for television for a living...
Yes, the series bible is more important than the pilot episode.
If it's an hour long (50 minutes for U.S. networks) than most have a tease and four acts. I have 10 produced pilots sitting on my desk... they range in length from 55 pages to 68 pages as extra length is okay to clarify the sets, characters, and to establish habitual actions in the pilot -- regular episodes run between 50-55 pages.
On average:
Tease - 3 pages
Act One - 17 pages
Act Two - 14 pages
Act Three - 12 pages
Act Four - 17 pages
When we do series proposals, we turn in a 25-page bible, a 90-minute pilot script (that can stand alone as an MOW), the first (hour-long) episode in the series AND synopses for the next 11 episodes. This is all done on concept development money but it's the only way new stuff is looked at that doesn't come from in-house. We've originated five produced series this way.
That's been my experience. But it's also been my experience that it's impossible to come in as an unknown with a series idea. It would be easier to fly to the moon without a rocket. Better to write a dynamite MOW or cable feature script, sell it, then pitch it as a series idea. Just let the execs think it was their idea to do so.
Good luck!
Yes, the series bible is more important than the pilot episode.
If it's an hour long (50 minutes for U.S. networks) than most have a tease and four acts. I have 10 produced pilots sitting on my desk... they range in length from 55 pages to 68 pages as extra length is okay to clarify the sets, characters, and to establish habitual actions in the pilot -- regular episodes run between 50-55 pages.
On average:
Tease - 3 pages
Act One - 17 pages
Act Two - 14 pages
Act Three - 12 pages
Act Four - 17 pages
When we do series proposals, we turn in a 25-page bible, a 90-minute pilot script (that can stand alone as an MOW), the first (hour-long) episode in the series AND synopses for the next 11 episodes. This is all done on concept development money but it's the only way new stuff is looked at that doesn't come from in-house. We've originated five produced series this way.
That's been my experience. But it's also been my experience that it's impossible to come in as an unknown with a series idea. It would be easier to fly to the moon without a rocket. Better to write a dynamite MOW or cable feature script, sell it, then pitch it as a series idea. Just let the execs think it was their idea to do so.
Good luck!
PerditaDrury said:
Thanks for the info. My case is different from most regualr TV shows for a huuuuge reason. The only way to explain it would be to explain the entire idea which i cant do right now, but I have a hook that i think will get me in the door as an unknown. It would not be possible for this to be a MOW. But its good to know that I need a bible, the pilot, the next episode and an outline for the rest.
Can you explain to me the structure a bit more? Why is it in four acts? Do you have to have a tease (And is that just a 3 minute fast passed intro type thing?)
Of course every writer thinks their idea is the best thing under the sun and no one has done it before. I KNOW this has not been done or tried and the few people I've pitched it to think its perfect and right on time. This isnt a trend-whored idea from watching the market, it just so happens that if I can get this done in the next three months its going to be perfect.
Sounds cool...
Even if you don't write up more than the pilot episode and the series bible, make sure you can at least talk them through an entire season... they, the network execs/producers, want to know that the series has legs.
The best way to understand the tease and the four acts is to look at pilot scripts...
I don't know if you're doing a drama or a comedy or if it's network or cable.
Assuming it's network drama (my venue):
I would suggest reading then breaking down the pilots for:
Las Vegas (no matter what you think of the series, and, hey, it's popular, the pilot was high concept WOW!)
Cold Case
Law & Order: Criminal Intent
CSI (Las Vegas)
And any three to five other shows that have something in common with your idea.
These scripts are available at a number of script sites for about $10 each.
Make sure you have a dynamite one-page because that's often the only thing the exec will read.
Good luck!
Even if you don't write up more than the pilot episode and the series bible, make sure you can at least talk them through an entire season... they, the network execs/producers, want to know that the series has legs.
The best way to understand the tease and the four acts is to look at pilot scripts...
I don't know if you're doing a drama or a comedy or if it's network or cable.
Assuming it's network drama (my venue):
I would suggest reading then breaking down the pilots for:
Las Vegas (no matter what you think of the series, and, hey, it's popular, the pilot was high concept WOW!)
Cold Case
Law & Order: Criminal Intent
CSI (Las Vegas)
And any three to five other shows that have something in common with your idea.
These scripts are available at a number of script sites for about $10 each.
Make sure you have a dynamite one-page because that's often the only thing the exec will read.
Good luck!
PS
No, a tease is a critical part of the script... it's the tantalizing set-up for what's to follow. Most, if not all, of the dramatic shows do it... and so do a lot of features.
Think of it as what makes the audience decide to watch your show and not something on another channel.
Remember: Commercial TV shows are written and contructed around commerical breaks... not the other way around.
No, a tease is a critical part of the script... it's the tantalizing set-up for what's to follow. Most, if not all, of the dramatic shows do it... and so do a lot of features.
Think of it as what makes the audience decide to watch your show and not something on another channel.
Remember: Commercial TV shows are written and contructed around commerical breaks... not the other way around.
PerditaDrury said:
This is not for comercial TV actually. And what are some sites to get those TV scripts?
By the way, those of us in TV world DO watch the market and write accordingly... but that's not whoring... we happen to be astute observers of viewing habits and deliver what is attractive to the audience at the time.
Television is conservative where money is concerned and populated by those who have made good decisions and paid their dues.
If you fancy yourself a visionary, you might want to stay in features or pitch to cable... because television folks don't suffer either fools or better-than-thou geniuses gladly. Don't spend your time saying what's wrong with others but what's right with you. We're open to good ideas and creative intelligence but, believe me, not one of the spittle-flicking writers who've walked in the door spewing "My script is better than anything on the air today!" was taken seriously.
I wish I had a trap door in my office and could pull the lever when one of those stalked in.
I'm not saying this is you -- just a word, in general, to the wise.
And, sincerly, good luck.
Television is conservative where money is concerned and populated by those who have made good decisions and paid their dues.
If you fancy yourself a visionary, you might want to stay in features or pitch to cable... because television folks don't suffer either fools or better-than-thou geniuses gladly. Don't spend your time saying what's wrong with others but what's right with you. We're open to good ideas and creative intelligence but, believe me, not one of the spittle-flicking writers who've walked in the door spewing "My script is better than anything on the air today!" was taken seriously.
I wish I had a trap door in my office and could pull the lever when one of those stalked in.
I'm not saying this is you -- just a word, in general, to the wise.
And, sincerly, good luck.
PerditaDrury said:
Any idea where I can get examples of the bible? What should be in it exactly? I figure character information, but beyond that?
The proposed series bible (differing from an ongoing series bible):
Concept page (often called the one-page sell-piece)
The Continuing Characters (Leads)
Overview (Backstory, Setting & Extended Character Description. For the last: leads, supports, recurring characters)
Opening Cuts & Title Credits
Episodes (a half page synopsis of at least the full 13)
Pitch Notes (if it will be pitched in-house)
The proposed series bible is usually between 25-30 pages in length.
We present as follows:
The one page sell-piece
The pilot (we do 90 minutes so that it can be salvaged as a one-off MOW if the series isn't picked up)
The series bible
The first episode (I write this as a stand-alone so that if the pilot is dropped in favor of a media res approach, this one will really punch)
Just so you know... in my little TV niche, if you pitched a dynamite concept, the powers at be will probably buy the concept and tell you to go away... you won't get the created by credit nor will you have the opportunity to write the scripts... well, maybe one but not the pilot. There are exceptions but generally a show runner is brought in who brings in his/her own writers.
It's a FAR better idea to write a great script -- then you won't be told "see you later"... not up front anyway. An experienced producer may be so enthusiastic about your series idea that he/she will set out to get it sold and you might be part of the deal.
Any other TV writers out there with another perspective?
Concept page (often called the one-page sell-piece)
The Continuing Characters (Leads)
Overview (Backstory, Setting & Extended Character Description. For the last: leads, supports, recurring characters)
Opening Cuts & Title Credits
Episodes (a half page synopsis of at least the full 13)
Pitch Notes (if it will be pitched in-house)
The proposed series bible is usually between 25-30 pages in length.
We present as follows:
The one page sell-piece
The pilot (we do 90 minutes so that it can be salvaged as a one-off MOW if the series isn't picked up)
The series bible
The first episode (I write this as a stand-alone so that if the pilot is dropped in favor of a media res approach, this one will really punch)
Just so you know... in my little TV niche, if you pitched a dynamite concept, the powers at be will probably buy the concept and tell you to go away... you won't get the created by credit nor will you have the opportunity to write the scripts... well, maybe one but not the pilot. There are exceptions but generally a show runner is brought in who brings in his/her own writers.
It's a FAR better idea to write a great script -- then you won't be told "see you later"... not up front anyway. An experienced producer may be so enthusiastic about your series idea that he/she will set out to get it sold and you might be part of the deal.
Any other TV writers out there with another perspective?
PerditaDrury said:
This leads into my very next question - How do you go about getting Created by credit? And in what you described, where the powers at be buy the concept, do i get credit at all? I actualy dont think Ill be brining this idea to any of the networks.
Also this idea can not be a feature flim, it has to be an episodic series, only possible way it could work.
DoubleIT said:
Created by credits are for those who put up the money and bring the idea to fruition. You'd have to get investors to put up the money to make your pilot if you want more than a "concept by" credit if you can get that at all.
Television is not a writer's medium -- it's a hypenate's medium: writer-producers.
Go independent if you want more control.
In the cable realm, I work with a development group that fleshes out ideas that have been optioned/purchased. Our writers are assigned. We don't want to hear "it's my idea!" from any plaintive writer thinking that it's all about him/her. It's not. The originating writer is the least important member of the team. The in-house writers are the most important member of the writing team (not the creative team, of course) but everyone prefers experienced show runners and their crew.
Created by means a lot more than any writer thinks.
TV is a team-player's medium and that's why it can be so rewarding.
A TV show can become a writer's medium for those other than the working hypenates when the ratings are good and the producers are willing to take a risk. Tarantino writing and directing the final episode of a CSI season is a good example. He hit his own marks, let loose with the storyteller's monologues he's famous for and writers everywhere were shouting "Yeah!"
Get your agent or manager or lawyer to protect your interests if you are adamant... they can write your demands into your contract. Then it's up to the producers to agree if they want it bad enough.
Anybody sitting on a bus bench has a great concept -- it's how it's fleshed out that matters. There's nothing in the world that's so unique in concept form that I've ever heard of... The best writers can write a profound scene about two anybodys talking on the telephone. Great writing within a great concept is real nice but the writing ability counts for more than the controlling idea.
That's the reality.
That being said, however: anything is possible in this business -- you might be able to pull off a created by credit and you might be the show runner of your new show. Any veteran writer has seen it all, that too. It's just unlikely.
I sold a series idea a couple of years ago so that it could be shelved -- they already had a similar idea in development and wanted me to go away. Hey, I took the money and to this day, I watch the show they picked over mine. It was better than mine; they did the right thing. I bought a car. I'm still driving it.
http://www.simplyscripts.com/tv_all.html
this is a big list of tv scripts and transcripts. most of the entries are transcripts, but there are lots of real scripts too. do a "ctrl + F" search to find the pilots.
this is a big list of tv scripts and transcripts. most of the entries are transcripts, but there are lots of real scripts too. do a "ctrl + F" search to find the pilots.
PerditaDrury said:
How about the unproduced perspective?
Hello everyone. I'm emerging from long-time lurkdom just to mention that the bible for the long-ago cancelled series "Freaks and Geeks" is available online, along with some other interesting production related documents. Head to
www.freaksandgeeks.com/otherjunk/otherjunk.html and click on the graphic of the slate to go to the "Making of" pages if you're interested.
Best of luck DoubleIT!
As a TV writer myself, I absolutely agree with Perdita Drury's words of wisdom. In these few postings, Perdita has given you more valuable info than a lot of the books out there on TV writing.
I second Perdita's cautionary note to never go into a producer and tell him/her that your material is so much better than anything currently on the air. Remember, producers have material on the air, and they would justifiably become defensive -- and put off -- by that approach.
I also agree that the very best way to showcase your writing is to write a top-notch TV movie script or sample episodes for shows currently on the air. Once you have a couple of those under your belt, producers and the powers that be will be far more inclined to view your pilot proposal favorably.
To what Perdita has already written, I would like to share a quote one of my favorite producers had posted above his desk. It simply said, "Never underestimate your audience."
I love the passion you show for your project. Good luck with it!
I second Perdita's cautionary note to never go into a producer and tell him/her that your material is so much better than anything currently on the air. Remember, producers have material on the air, and they would justifiably become defensive -- and put off -- by that approach.
I also agree that the very best way to showcase your writing is to write a top-notch TV movie script or sample episodes for shows currently on the air. Once you have a couple of those under your belt, producers and the powers that be will be far more inclined to view your pilot proposal favorably.
To what Perdita has already written, I would like to share a quote one of my favorite producers had posted above his desk. It simply said, "Never underestimate your audience."
I love the passion you show for your project. Good luck with it!
Thank you, Cleo -- I appreciate your comments and your validation of our shared experience in television. Yes, "never underestimate your audience" should be a plaque on every wannabe, mightbe, willbe writer's wall.
You've made me think of a couple of things...
Those viewers out there have all the same great thoughts, beliefs, hopes, dramatic comprehension of the best writers, they just lack the skill (though I better think they simply lack the inclination) to write it out. But we writers are all lucky because they are willing to sit back and watch us try to make dramatic sense of universal themes within the realm of subjective fictional characters. Those who watch dramatic television programming tend to be extremely intelligent and discerning... the best dramatic shows are among the greatest entertainment for the mind of any medium... including commercial literature and features.
I personally love the brilliance of television; the best writers are working there.
When I write features, I take this "never underestimate" to heart as well. It's just fine to write subtext for the smartest film critic to mull over and squeeze into a feature article but the context had better be good enough so that some guy making eight dollars an hour (or less than the price of most movie admissions) who strolls into the theater because his car battery is dead and it's pouring rain he needs a couple of hours to kill while he waits for the tow truck driver to get to him will leave the theater thinking he hasn't wasted two hours of his life. And, in fact, he was glad the battery died so that he had that chance to watch that movie, to savor that filmic experience.
Because that's what we're asking people to give up: one hour, maybe two hours of their lives. Life is time, nothing more.
I never lose sight of that... I'm not writing "to express myself" or because "I have something I need to say" -- every single human being can say the same thing -- but I write for the viewers because they've trusted me to take them down a divergent road for an hour or so. I am honored and privileged to be trusted to do this.
Television, I think, is the one medium where the writers tend to think of the viewers first.
Just a couple of random thoughts...
But thank you, Cleo, for speaking up for our writer's realm.
You've made me think of a couple of things...
Those viewers out there have all the same great thoughts, beliefs, hopes, dramatic comprehension of the best writers, they just lack the skill (though I better think they simply lack the inclination) to write it out. But we writers are all lucky because they are willing to sit back and watch us try to make dramatic sense of universal themes within the realm of subjective fictional characters. Those who watch dramatic television programming tend to be extremely intelligent and discerning... the best dramatic shows are among the greatest entertainment for the mind of any medium... including commercial literature and features.
I personally love the brilliance of television; the best writers are working there.
When I write features, I take this "never underestimate" to heart as well. It's just fine to write subtext for the smartest film critic to mull over and squeeze into a feature article but the context had better be good enough so that some guy making eight dollars an hour (or less than the price of most movie admissions) who strolls into the theater because his car battery is dead and it's pouring rain he needs a couple of hours to kill while he waits for the tow truck driver to get to him will leave the theater thinking he hasn't wasted two hours of his life. And, in fact, he was glad the battery died so that he had that chance to watch that movie, to savor that filmic experience.
Because that's what we're asking people to give up: one hour, maybe two hours of their lives. Life is time, nothing more.
I never lose sight of that... I'm not writing "to express myself" or because "I have something I need to say" -- every single human being can say the same thing -- but I write for the viewers because they've trusted me to take them down a divergent road for an hour or so. I am honored and privileged to be trusted to do this.
Television, I think, is the one medium where the writers tend to think of the viewers first.
Just a couple of random thoughts...
But thank you, Cleo, for speaking up for our writer's realm.
Yes, Perdita, I agree that writing for TV is wonderful. I'm sure you've had the experience when an established film writer takes a dip into TV. They often have a prejudice against the medium, feeling they are much to good and qualified for it. In my experience, they can flounder badly, and the audience can see through their disdain.
Yes, it's a very fast-paced world, but for me, it was always such an adrenalin rush. I worked in Daytime (soaps) for many years, and after that wild ride, everything else seemed too calm and sedate for my tastes.
We were writing the equivalent of 2-1/2 TV movies each week 52 weeks a year, and we were dealing with casts that could number up to 50. Just meeting their contractual agreements each week was a Herculean task.
Oh sure, as writers, we'd whine and moan about all the work we were doing, but to be honest, I never had a better time.
I've switched direction and am now writing novels. Now that's horse of a completely different hue. No deadlines until you've sold the book, the luxury of playing with every word and phrase. That's all new ground to me. I'm enjoying this because it is a different experience. But drat, I miss those days of sheer terror to get that next episode on the air!
Yes, it's a very fast-paced world, but for me, it was always such an adrenalin rush. I worked in Daytime (soaps) for many years, and after that wild ride, everything else seemed too calm and sedate for my tastes.
We were writing the equivalent of 2-1/2 TV movies each week 52 weeks a year, and we were dealing with casts that could number up to 50. Just meeting their contractual agreements each week was a Herculean task.
Oh sure, as writers, we'd whine and moan about all the work we were doing, but to be honest, I never had a better time.
I've switched direction and am now writing novels. Now that's horse of a completely different hue. No deadlines until you've sold the book, the luxury of playing with every word and phrase. That's all new ground to me. I'm enjoying this because it is a different experience. But drat, I miss those days of sheer terror to get that next episode on the air!
There was a question a few pages up about getting someone getting their hands on an actual bible used for a series.
The ever helpful ZODITCH has posted one on his website: http://www.pondalee.com/Shbible3.htm
I think (from memory) he has also posted stuff from the original pitch used to sell the TV series.
Good luck,
Mac.
The ever helpful ZODITCH has posted one on his website: http://www.pondalee.com/Shbible3.htm
I think (from memory) he has also posted stuff from the original pitch used to sell the TV series.
Good luck,
Mac.
Terrific series bible FOR WRITERS AND DIRECTORS of, I assume, a series that was sold at the time. Something like this is usually given to the actors as well.
A series bible for a PROPOSED series doesn't ever tell what "we intend to do" as the ultimate "we" will be the people who buy it...
To use an analogy, the link you've supplied tells how to decorate and furnish a new house; a new series proposal needs to tell how to build it. Something like this coming from a writer-with-an-idea sounds pretentious and ludicrous; something like this coming from a pro with a sale is righteous.
There's more than one kind of series bible, just to be clear.
And after a series gets going it's one of the producer's jobs to keep it up to date on every little fact and backstory tidbit for each and every character. On one series I worked on, it was wheeled around in a little red wagon after it got too heavy to carry.
I agree that a pitch, or the one-page, is the most important get-in-the-door tool.
A series bible for a PROPOSED series doesn't ever tell what "we intend to do" as the ultimate "we" will be the people who buy it...
To use an analogy, the link you've supplied tells how to decorate and furnish a new house; a new series proposal needs to tell how to build it. Something like this coming from a writer-with-an-idea sounds pretentious and ludicrous; something like this coming from a pro with a sale is righteous.
There's more than one kind of series bible, just to be clear.
And after a series gets going it's one of the producer's jobs to keep it up to date on every little fact and backstory tidbit for each and every character. On one series I worked on, it was wheeled around in a little red wagon after it got too heavy to carry.
I agree that a pitch, or the one-page, is the most important get-in-the-door tool.
Good point!
Friends who have successfully sold pitches have ended up getting paid to write it. I'm not sure how standard that would be in a different environment.
Mac
(PS: They don't get paid out of alturism. If they pay to get the bible written, then even if they decide to NOT make the series, they still own 100% of what you put in the bible. Thus, you can't try and sell the series to others, and they can always decide to use it later)
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Star Trek series always say "Created By" and he is long dead now.
Can someone explain the difference and also, does the concept creator maintain overall rights in case a series becomes a movie franchise as it did with Star Trek?
Can someone explain the difference and also, does the concept creator maintain overall rights in case a series becomes a movie franchise as it did with Star Trek?
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With the caveat that this applies only to Guild signatories, which are most of US network TV and studio films.
http://www.wga.org/subpage_writersresources.aspx?id=122
http://www.wga.org/subpage_writersresources.aspx?id=124
http://www.wga.org/subpage_writersresources.aspx?id=114
http://www.wga.org/subpage_writersresources.aspx?id=119
http://www.wga.org/subpage_writersresources.aspx?id=122
http://www.wga.org/subpage_writersresources.aspx?id=124
http://www.wga.org/subpage_writersresources.aspx?id=114
http://www.wga.org/subpage_writersresources.aspx?id=119