Screenwriting : Developing each episode of a TV series project, yay or nay? by Melissa Papel

When I get into a pitch session I make sure I tell them I'm hoping to get them interested in a story, not just an idea. The overwhelming response has been positive that I have more to tell them including a synopsis of 26 episodes so they know from the start what they will need to tell this story. It can't hurt you to have it ready just in case they ask you for it.

I have a brief outline of each episode in season 1, plus a set-up for season 2.

I think it depends on the series and how obvious the episodes seem to be. I've seen both ways and as this is a creative business there's never a hard-and-fast rule.

If you pitch say Lost, you're basically setting up the world which isn't what it appears to be and this group of characters who don't always appear to be who they are, each episode following a group of characters and an island mystery - I wouldn't think you would need an episode breakdown.

For a series like Law and Order (like back in the day it would have been pitched) I get the world - basic cop procedural, so I would want to know if each episode has an interesting hook and some through-line through episodes to keep me hooked.

It can't hurt to write what YOU would want the first episodes to be if you were given carte-blanche to write them, but maybe just stick to a few sentences versus pages. If someone asks for long episode summaries, you can then build off of that...

and as with all screenwriting before the check comes in...it's good practice...and you might see a flaw in your story or a minor character who maybe should become major...

Congrats on your progress! Keep going!

I don't know who the host is of that second webinar, that stated the 5-page pitch deck, but I took the Jay and Raquelle TV Dev Class, and they said EXACTLY the same thing.

Producers and Execs will want the freedom to dev the story their own ways.

Also, both Jay and Raquelle expressed that a green producer has almost no chance of pitching to Netflix or Amazon. Both those places are almost exclusively only working with showrunners they already know.

Give them - Netflix, Amazon - what they want. Bibles are whatever length they need to be (it doesn't mean give someone a 40 page Bible). It's very true that companies no longer have time, or want to spend time, developing material. They want to do the minimum required. You will still have notes from the execs and director / talent notes. Break a leg, Melissa!

Don't think I can add anymore than already stated. But want to wish you the best of luck.!

Not to hijack your thread but wouldn't you want to learn how to write television first - write on a staff - before you try to make your idea into a TV series? Netflix, Amazon, ABC Network - they are all corporations. Need to bring more to the pitch table than pages/bible.

Rookie TV Creators who've done it with 0 Television experience - Mickey Fisher, Steven Canals, Issa Rae, Evan Romansky - they all partnered with known folks before they approach television Buyers.

Good hijack Dan. Put some time in as a staff writer to get a feel for how it all works first before you try to reinvent it.

Hi Melissa - Since the producer who is asking for more information is green as you put it, maybe pitch your series to another producer (first researching them to make sure they have a list of credits) to see what they may say about your upcoming series. In addition, I am not sure who said TV Show Bibles should be 5 pages max this would be incorrect as most TV series bibles are over 10 pages. "STRANGER THINGS" Bible was 23 pages, "GREYS ANATOMY" was 22 pages, FARGO was 12, TRUE DETECTIVE was 15. If you pitch your series to another producer or take advantage of script services to have a producer of your choice read your script and they ask for the same thing, then you are probably going to want to do it. If they ask for something else then go with a veteran producer's suggestion. In addition, just because the green producer mentioned Netflix and Amazon do you even know which station or channel your series will be best suited for as some channels are looking for certain criteria for new shows. I would suggest keep moving forward and always have another series available for the producer who asks 'What else Do you Have?" Best of Luck

So Dan and Doug, you don’t know? Is that what I am to guess?

Dan MaxXx You wanted to high jack it with negativity and you know it. You always take that route. Melissa, go with your instinct and talent. Push your dreams and ignore the negatives like Dan MaxXx.

I don't know if there's a definitive answer to your question, but I had a similar issue. I partnered with a well-known producer on the strength of my TV series Ep1 and his advice was to write the whole thing, because, as you said, networks want fully-baked projects, ready to go. I balked at the idea but concluded that he knows more about the industry that I am ever likely to, so agreed and over the course of nine months wrote the remaining seven episodes. It was hard work and I felt utterly uninspired so many times, but in the end I was able to go from outline to first draft of a script in around 3.5 weeks, working most days and evenings. Lockdown helped. I felt I learned a lot just by forcing myself to do it, and the sense of obligation drove me on. It turns out my producer was pleased with the results and he's pitching it now around the networks. Of course, there are no guarantees and it may not go anywhere, but at least there is an asset to sell, rather than just an idea. And that may be the clinching argument - that assets speak louder than ideas - but others may disagree. Whatever you decide, good luck to you - come back and tell us how it goes!

Mickey Fisher wrote the pilot for Extant as a spec, and a 6 page "series overview."

Issa Rae had a VERY successful web series before Insecure.

Romansky wrote a spec pilot of Ratched as a writing exercise in film school. He pitched it at a pitch event, picked up a manager, who coincidentally was on a plane with Michael Douglas (the IP rights holder); other connections led to Ryan Murphy.

I show this to say there are as many paths to TV writing success as there are writers. But also look at this: 3 writers out of THOUSANDS have become successful. The odds aren't in our favor, guys. :) That doesn't mean stop - it means listen to the pros (or any of us on S32) as guides to your own path, not as dictators.

Bill Albert, ignore Dan MaxXx at your peril. He has decades of experience. And he's not negative, he's a realist.

As usual, just my two cents' worth.

Wow, I’m just seeing all these answers and I thank you all for your help and advice. Perhaps I should have also emphasized that my goal is not to be a staff writer. I’m actually an actress and would love my show to see the light and have a “created by” credit, and be an EP on it. Every detail of the concept is ready, including the characters’ arcs, and the first 2 seasons’ overall arcs. It is a sci-fi concept set in 2091 and the premise allows for a million different possibilities in terms of story line and how each episode could be developed. I just thought that seasoned staff writers would do a better job than me when it comes to developing each episode but I’m pretty happy with my pilot and that was already quite a mountain to climb! I interviewed biologists and scientists and did a ton of research to make my whole concept credible. I just never thought I would have to get into a detailed breakdown of each episode, and my bible is already 20 pages, but I guess I’ll have to write at least a paragraph for each episode, to show that there is potential to develop this story so much!

Thanks again everyone for your support, and good luck to you all with your projects as well!

Happy holidays!

Melissa

Nick Assunto - Stage32 Script Services Coordinator, buddy, I admire your patience!

Melissa Papel, I want to apologize for the community for the hijacking of your post. I hope there were enough constructive comments scattered in the thread to be of use to you.

Good luck!

If you get any open door like this, work your ass off to get it done and walk through...this is a good sign and the door will close fairly quickly if they don't see you heading that way. Congratulations, you are supposed to do this if you already got a positive response, so get started

Nick Assunto - Stage32 Script Services Coordinator Yep on the IP, and it makes sense. Which is why I am turning my pilot into a comic in parallel with pitching.

AH! This is so exciting! LOL I do miss the heated debates that occur in someone's unsuspecting thread on this lounge! What a lovely way to avoid writing! In any case, dear Melissa, both Nick and Patronica are actually right. I haven't read their debate threads in total detail, but I get the gist of what they're saying, and they're both right. No two creatives come to the table with the same gifts, and no two pathways to creative success are even remotely similar. Add to that that the industry is on evolution hyper-drive, and nothing is 'right'. So yeah, I think both you and I should read Nick and Patronica's debate in detail. This is good weaponry for battling through today's marketplace!

In any case, am I right in sensing that you sort of want to write more episodes? Follow your creative instinct. That's the only way to muddle through this insanity with true integrity. If your imagination is bugging you to do that work, if scenes from episode six are coming to you at midnight, then yes, write them down! Have a huge folder with everything from this project just waiting for that next request. When an idea comes, write it. When they ask, you'll have it. Whatever happens, Just Keep Writing (and in your case also acting and producing). We're so lucky to even be having these conversations! Yay for 2021!

Hi Melissa, I am a producer in South Africa and interested in a series, have you anything that you can send my way?

Hi Melissa, I only represent myself as a writer, that has to write. I too, have written multiple episodes on projects, and have been told no one usually looks at all of that. I don't ever believe there's a set way to get things done, or that it's a waste of time if you feel you need to do it. It's about doing the work, being prepared, and being true to your vision. That doesn't take away from what might be expected if someone is truly interested in it. I agree that shows get picked up in a lot of different ways. You did get a positive response, and for that I say congratualtions, keep writing, and way to go!

The rules are different depending on who you are and how your project will come to their attention. What Netflix requires from an unknown writer being pitched by a green producer is very different from what they expect from a name writer with influential representation or other credibility/bankability factors. How they view and consider the project is also dependent on those things. Ultimately, you'll have to figure out how realistic/serious the opportunity is and how much work you're willing to do without concrete interest in either you or your script.

Melissa, I had read that advice you wrote as well: "...when the deal was signed, a much more detailed Bible was developed with the Network/Producers, according to their wishes and ideas of where the story could be taken and how it could evolve." Also I had heard that at an early stage an entertainment attorney should be involved to establish what new input belongs to the writer versus what is the property of the Network/Producers. If they back out of the deal at some future point, you all need to know what is yours and what is theirs on each page. It has the potential to get complicated and reminds us that this is, after all, a business!

I've been working on developing a series to sell for some time. My thinking was that if someone got interested it couldn't hurt to let them know that I have a Look Book and Series Bible ready to go. If they don't want it, ok, but if they do I'm ready for them. So far three producers have asked for everything, including the episode scripts I've written. Can't hurt.

I've written ten episodes for my sitcom series because I needed to in order to get myself to fully believe in the potential of the concept. It allowed me to dispel my own doubts.