Producing : Ask Me Anything (AMA) 5/31 to 6/1- What Is Current Programming? by Nathan Varni

Thank you, Nathan, we at Butterfly Films appreciate you very much! How does one pitch a TV show idea on behalf of a celebrity to the development departments at ABC? Are they only walked in by attorneys or agents? Thank you for answering my question!

Hi Nathan Varni Thanks you so very much for doing this AMA! Very much appreciate your time!

Question(s): How would creatives make your job easier at the beginning of a working relationship? What is your favorite part about what you do? Thanks in advance!

Hi AJ! thanks for the question! That's a great question for our development team who develops all shows before they hand it over to current programming (my team). I can say that most pitches typically come through an agent, manager, entertainment lawyer or studio. Also, if you have a direct connection with a network development executive, that can also be your "in" for a pitch on behalf of a celebrity. So my advice would be to start introducing yourself to studio and network development execs if you are lacking an agent/manager etc to make that introduction for you.

Hi Leonardo Ramirez, great question! I always say it's about collaboration. Obviously every EP and executive is slightly different from one another. Some creators are willing to collaborate and some high level showrunners prefer to use a #2 or co-showrunner to communicate with network/studio. I'm pretty easy going so I always try to do what is in the best interest of the creator. However, I will say the relationship tends to go much better if the creative and executive form a good and respectful working relationship. If both sides are willing to hear each other and respect each other's opinion, I have found those are sometimes the best series to work on. In terms of favorite part of my job: it's definitely the variety for me. I absolutely adore being able to work across different genres (right now I have comedy, a daytime soap opera and drama series). I like variety because it keeps me challenged, engaged and as someone who gets bored easily, I like that each day is different and that I'm not doing the same thing day in and day out. I like current programming because it's closer to production work (that's where I started). I respect everyone in development but the pace is just too slow for me. I like to work on as many episodes of television as possible per year!

That's awesome Nathan Varni. I absolutely thrive on collaboration so I get what you mean. And I love it that you like to work on a variety of shows - the spices of life! Thank you so much!

Thank you for the Ama, Nathan Varni ! This is awesome! My questions are:

- Are the writers assigned before the series is ordered or after? (and what's the selection process like?)

- Does ABC order a variety of genres each season, or are there new hot pockets of interest with each passing year?

- How far ahead of premiering are series ordered?

Thank you again!

Congratulations on all your success, Nathan Varni!!! Thanks for having this AMA. What's one thing new TV writers should know heading into a writers' room (something obvious that's overlooked)?

Thank you Nathan Varni for taking your time today to be with us and answer questions. It was such an honor to meet you back in November. I still pinch myself thinking about it. My question is about bringing back mini series to network television. I know is was attempted at the turn of the century, but is there a space for that anymore or is the limited series of the streaming services have taken over?

Thank you so much for being here today, Nathan! It's fantastic and very cool for the community to get to ask someone in your position questions. My question is about procedurals. With broadcast network order patterns, are procedurals still highly sought after programming or are networks working on more serialized programming these days?

What is ABC's corporate position of using AI software to assist tv show creators?

Thank you so much for doing this Nathan Varni! Based on all the experience you have, do you ever see first time writers working on a show they've created in a higher level position, or do they typically start as an assistant and work up?

Thank you for lending us your time and passing on so much useful information Nathan!

Hi, Raven Riley thanks for your questions!

- Are the writers assigned before the series is ordered or after? (and what's the selection process like?)

Answer: writers come in with pitches and typically stay through the process. Sometimes studios will hire a writer for a concept or IP they are excited about.

- Does ABC order a variety of genres each season, or are there new hot pockets of interest with each passing year?

Answer: although our development buys and pilot orders have decreased in the 15 yrs I’ve been at ABC, that’s still the goal … order pilots that differ from one another in terms of genre. For example on the drama pilot side this year we had a spin off of Good Dr called good lawyer (law show), Judgement (soapy, political show), HPI (quirky procedural crime), Hurt Unit (new take on a medical show). Love variety!

- How far ahead of premiering are series ordered?

Answer: in a typical year, we shoot pilots in March, order to series in early to mid-may, start production july/august and typically premiere late Sept or early October. Some shows are also saved for mid season premieres (Jan-march).

Hi Maurice Vaughan thanks for your question! Q: What's one thing new TV writers should know heading into a writers' room (something obvious that's overlooked)?

Answer: I would say the ability to read the room would be something that is tremendously helpful if you are starting on a new show. Even if you're quiet for a few days, take the time to learn how the showrunner operates and how she/he utilizes the staff. Some creators want the room buzzing with ideas and are happy to digest multiple pitches coming at them. Others tend to be a little old school where they utilize higher level writers over lower level writers. Knowing how much to speak up is always important and always seems to be a fine line. Sometimes I've heard of writers not being asked back because they took over every pitch and/or convo in the room. While other times, some creators will provide feedback that some writers perhaps did not speak up or participate enough. I would also say explore everyone's strengths and weakness and in the room and figure out how best for the EP's and fellow writers to utilize your assets. For example, a writer might be a little more shy in nature but say that writer cranks out amazing and polished first drafts. That can be just as helpful to a showrunner as idea generators can be in the room. Find what you can bring to the table and be an asset in some way and you'll find that you'll likely have a seat at the table (so to speak) for many seasons (if the show is renewed!)

Hi Trish Persen thanks for your question! Q: My question is about bringing back mini series to network television. I know is was attempted at the turn of the century, but is there a space for that anymore or is the limited series of the streaming services have taken over?

Answer: it's been a little murky on this topic for broadcast in recent years. Long gone are the days of those big event Sunday or Monday night MOW they had on tv when I was growing up. The problem with mini series or limited series on broadcast is making them financially viable for the studios who sell and produce them. If you have a hit limited or mini series, the network will always want MORE, this is when you realize how much business is intertwined with creative. I personally enjoy mini series and limited series but I think the financials make more sense these days on a streaming platform. For example, if LOVE AND DEATH was on ABC and it did well in the ratings, the network would likely try to make it into a full time series, which might not be the greatest road for creative greatness.

Hey just wondering what you think of Producers who might decide to write episodes themselves with or without the use of AI or hire non union writers during the strike?

Thank you Nathan Varni for an honest answer. It makes so much sense, but I do miss those Sunday night events.

Hello Nathan.

Streaming platform/video on demand is better option creatively and financially. Thank you.

Andre

Hi Nathan, thank you for being so generous and honest with your answers ! They are quite helpful for people trying to break into the TV industry. You mentioned that a part of your job is meeting a wide range of writers and directors to build relationships and to hopefully be able to recommend to our showrunners if they need suggestions in terms of staffing support for their shows. Can you please throw some light on how you do that/selection process for directors. Also, for independent filmmakers like me, who have created content and it's streaming as well on Disney+ but don't have experience in TV, how do you break into the industry and get opportunities. Thanks !

Nathan Varni, thank you so much for giving us your time today! What do you feel are the most common misconceptions about current programming that you see or overhear people sharing?

Hi Dan MaxXx thanks for your question. Q: What is ABC's corporate position of using AI software to assist tv show creators?

Answer: it's early days for AI, personally I can't see AI replacing writers or talent because in nature it's not going to be able to produce what humans can produce when it comes to content. I feel like I need to do a deeper dive into AI but it's one of the most confusing things about the WGA negotiations, it seems like the easiest thing to support writers/humans over AI. But I feel like I might be missing something that studios know that I may not? But as of today, it's a mystery why studios would not outright say we don't support AI vs writers.

Hi Swati Chugh thanks for your question! Q: You mentioned that a part of your job is meeting a wide range of writers and directors to build relationships and to hopefully be able to recommend to our showrunners if they need suggestions in terms of staffing support for their shows. Can you please throw some light on how you do that/selection process for directors. Also, for independent filmmakers like me, who have created content and it's streaming as well on Disney+ but don't have experience in TV, how do you break into the industry and get opportunities. Thanks !

Answer: Happy to shed light on directors. In collaboration with our showrunners and studios we try to think out of the box and look high and low for directors. From those who might be "new" to working with ABC/Disney to hiring more inclusive directors, this is where team work and collaboration come in handy. Each showrunner usually has some favorites too from their past experiences. Most of my shows also have what's called a P/D (producer/director) who is also tasked with grooming directors and meeting potential directors for their series. For example, on Grey's Anatomy, Debbie Allen is our P/D and completely takes the reigns on hiring directors for the show. She even has her own in house training program that has directors shadow and get to learn the Grey's world if they are looking for their first opportunity. I would say streaming definitely would count in terms of experience. Breaking in advice would be to network with as many working directors as you can meet, ask for shadowing assignments and also try to meet more working showrunners, network and studio execs along with production company executives, who all could put in a good word on your behalf. Our industry is about relationships and a lot of times building relationships will lead to getting your foot in the door!

Hi Renee Galloway thanks for your question! Q: Hey just wondering what you think of Producers who might decide to write episodes themselves with or without the use of AI or hire non union writers during the strike?

Answer: My personal belief, human writers and those writers with WGA would always be my 100% preference. AI is interesting in how advanced it has become in the past years but as of today, my opinion would be still to always hire human writers to tap into personal stories. AI in my opinion lacks heart, emotion, feelings (all obvious but had to say it!)

Hi, Nathan! Just a clarification on the use of AI-generated scripts: as it stands now, those scripts would not be copyrightable. Unless Congress changes the copyright law and the changes survive any court challenges, the use of AI scripts is moot. Studios and producers would be foolish to invest in producing uncopyrightable screenplays. Why WGA doesn't know this is puzzling--didn't they consult copyright lawyers?

Thank you so much Nathan Varni for such great advice ! This is definitely practical and very useful especially on P/D and grooming directors. Will surely network more and try for shadowing assignments !

Hi Nathan Varni , thanks for answering all our questions! I'd love to hear more about how you got to working in Current Programming. I often hear about paths to development but not so much about current programming. Also, what do you love about working on the executive side? Are you ever interested in working on the production or creative side?

Hi Sam Sokolow With broadcast network order patterns, are procedurals still highly sought after programming or are networks working on more serialized programming these days?

Answer: for ABC, they seem to be the new marching orders (procedurals). We did years of serialized soapy storytelling which worked great until it didn't. So currently our development teams are a bit more focused on closed ended stories and thus we've been making a lot more recently. A good example of a procedural that worked great this season was Will Trent, procedural in nature but also rich in character development with layered and darker character work based on their backgrounds. I enjoy television with complicated characters who have overcome a lot of obstacles in their lives, so I wasn't thrilled to be assigned to Will Trent this season.

Thank you for doing this AMA Nathan Varni! I would love to know what element of your role do you love the most and why? Cheers!

You're welcome, Nathan Varni. Incredible advice! Thank you!

This one from @AmandaToney: do you ever see first time writers working on a show they've created in a higher level position, or do they typically start as an assistant and work up?

Answer: Yes, it does happen from time to time. Two of my favorite examples, David Case who created HAPPY ENDINGS on ABC, he partnered with Jonathan Groff was showed David the ropes in season 1 on how to show-run. My second example is Simone Finch created of SINGLE DRUNK FEMALE on Freeform. Simone was the asst to the Exec Producer on THE CONNERS and pitched her idea to Freeform. Like ABC, Freeform matched Simone with Jenni Konner to help with the day-to-day show running since Simon had never run a show before. As you can see it is possible but usually networks and/or studios will pair a new creator with another writer with experience in running a show. If the "marriage" works well it can be super helpful to the process!

From @SamMannetti, Q: I would love to know what element of your role do you love the most and why?

Answer: I love being busy and overseeing a ton of projects. I'm at my happiest when I am assigned to shows in different genres. My brain works best when I can go about my day switching from project to project. Comedy, drama, different types of shows ... I've been lucky to cover almost all genres. I haven't had tons of shows in the sci-fi realm yet but was fortunate to cover a serialized fantasy show called ONCE UPON A TIME for seven years, I learned tons from those creators on the genre. My other favorite part of the job is when you have writers who like collaborating with studio/network. Nothing feels more satisfying than exchanging ideas and working towards making something the best it can be. And I love hearing input from crews too, sometimes the best ideas come from the most unexpected, which always makes me happy! Thinking out of the box is also exciting as I try to encourage creatives to do something different. Shows that feel like carbon copies of other shows aren't as interesting to me as fresh takes on genres.

From Ashley, Q: What do you feel are the most common misconceptions about current programming that you see or overhear people sharing?

Answer: I think the most common misconception is all executives do is give notes. While that might be a small portion of the job, it's not my whole day. A lot of my day is spent simply communicating with creatives on series. Sometimes it's brainstorming, sometimes it's discussing ratings, sometimes creatives simply need to be listened to or heard. Other times I might be called to General Hospital to deal with a talent issue or concern. From contracts, to dealing with business affairs to discussing casting choices with producers and casting executives, the day really is full of multiple tasks that aren't 100% notes driven.

Nathan, thank you for your time and experience.

I've written several pilots and accompanying pitch decks. One I've plotted out the entire 1st season and a synopsis for the next four. Another the first season with ideas of where future season should go.

Is it important to have the entire series plotted out? Or just the first, leaving the remainder open?

Hi David! I have more current series experience vs development but I will say (personal opinion only), I think for your own benefit, it's great for YOU to have a sense of where you would like to go in the first season. I would probably share only what you need to share though with networks, who at the end of the day usually want to know they can somehow be involved in you crafting a first season. A little goes a long way in my experience and depending on the network, I think some networks get a little scared when they don't feel part of the process. I know that probably sounds a little insane but it's the same reason why I recommend writers 99% of the time doing a verbal pitch of their series idea vs sending a network a full script. When you send a network a full script, sometimes they lose the ability to see the possibility of a concept as you have written the full pilot. Sometimes development execs tend to get more excited by a verbal pitch, they of course want to know via the pitch that only YOU can tell this story but in what I'm sure sounds counter-productive, a full script sometimes just makes it easier for the network to pass quickly.

Love, love, LOVE this thread! SO much good stuff in here! Here are my questions, although my apologies if you've stated something like this elsewhere:

- when supporting your creatives, does that include your editor and extend into the post-production process? If so, in what ways do you support your creative post-production team?

- do you bring in outside consultants when an episode is struggling?

- Let's say there is someone on your cast/crew that wants to level up - an actor wants to direct, or a writer wants to direct - is that something you facilitate? Do you encourage your team to branch out or "stay in their lane"?

- At what point in the process do you determine if you need pick-up shots? What issues have you seen that make you push back on a delivered episode to re-do it or fill in the gaps?

Thank you so much, Nathan!

Hi @Karen"Kay"Ross, great to hear from you!

Here's some answers or opinions on your questions:

- when supporting your creatives, does that include your editor and extend into the post-production process? If so, in what ways do you support your creative post-production team?

It depends show-by-show, I'm in constant touch with our Post producers the most. Since we don't have a traditional studio on THE CONNERS, I've become really close with our amazing editor, Brian Schnuckel. He's amazing and experienced at his job and we have a lot of conversations when he's editing an episode, especially if it's an outside that is a little more out of the box. But to answer your question, yes, support goes out to all areas of a show!

- do you bring in outside consultants when an episode is struggling?

We do not use consultants as there are (in my opinion) enough "cooks in the kitchen" on most shows. You typically will have Exec Producers, creators, non writing Exec Producers (from prod companies), along with studio and network executives. We rely on research groups to provide feedback on various episodes throughout the year. It is a tool only and typically is shared with producers more as an FYI or if they want to talk about any of the feedback and how it might change future stories or the emphasis on certain characters. We would never point to focus groups or online research and mandate changes though, I think gut instinct with producers, network and studios is still likely your best bet.

- Let's say there is someone on your cast/crew that wants to level up - an actor wants to direct, or a writer wants to direct - is that something you facilitate? Do you encourage your team to branch out or "stay in their lane"?

Always encourage our teams to branch out! Actors directing is just sort of the new normal and those directors often are required by their showrunner bosses to at least go shoot a short and learn their craft before being given an episode. Some actors end up being amazing directors while others take their turn or opportunity and then realize it might not be for them. We don't really have a mandate for it so we tend to collaborate with our EP's and P/D roles to do what they feel is in the best interest for their shows behind the scenes. I'm a fan of actors who direct though as often (not always) but often they get terrific performances from their fellow cast mates.

- At what point in the process do you determine if you need pick-up shots? What issues have you seen that make you push back on a delivered episode to re-do it or fill in the gaps?

Definitely a complicated question ... sometimes the network requests reshoots if something didn't turn out as well as one had hoped. Other times we have EP's come to the studio/network to ask if they can reshoot scenes. Other times, probably our most savvy shows will know how to pick up scenes and schedule it so that it fits into a normal production day. This is probably a producer's best use of reshoots if the reshoots don't cost tons or require additional shoot dates. If you can pick up a scene or two and still make your day, then fantastic, we're always in favor of improving your own episodes! However, if it is a request of the network or studio, we will have those discussions about $$$$.

Welcome Nathan Varni

Thanks, Fran!

Wow... what great and thorough answers! Thank you so much, Nathan! Now I'm going to read the rest of these answers over breakfast tomorrow LOL You're amazing - thank you so much for this!

Thanks, Nathan for your time and thoughtful answers!

This Q&A was SO helpful and insightful--thank you, Nathan, and everyone!

Thank you Nathan Varni! This was so helpful and so inspiring! Appreciate your time to do this! Looking forward to seeing you in the community!

Nathan Varni Thank you! This was brilliant! :)