But if you write about something that matters to you and set it in a world you find interesting, comparing its structure to this template might help you see what your story is missing or why it feels too slow or too rushed. I share this information not to give you a paint-by-numbers template because there are hundreds of TV series out there that take a paint-by-numbers approach to storytelling and most are instantly forgettable. I did a less in-depth version of this analysis for one-hour drama pilots here. I found that all the pilots I studied were structured in a very similar way 1, even across networks. The next step is writing the actual script, or punching up one you’ve already written.Īs promised, I analyzed the structure (length, act breaks, number of characters, and narrative arc) of a group of half-hour dramedy pilots. Do not go over 65 or under 55.So now you know what makes a half-hour dramedy what it is and you know how to get to the core of what yours should be about. 7: Page countĥ5 to 65 pages is good for a dramatic pilot. it’s a untold story, or it’s groundbreaking in some way, or it sheds light on something happening in society today). Think of this as your sales pitch and include why people will want to watch the show (e.g. Also include character bios and a summary of the major story arc for the season. Use an active voice as you write the summary for each upcoming episode, and don’t make them too long. The bible summarizes the story you envision for the next eight to twelve episodes. 6: Create a show bibleĮvery studio or producer will expect this. I promise you’ll be glad you added this extra step. Six acts seems to be popular nowadays but the standard four still works. Find the pilot script from a show you like that is similar in tone to the one you are writing (there are several websites dedicated to sharing screenplays & teleplays, I’ve also had luck on Reddit). ![]() This will help both you and your reader navigate where they are in the story. 5: Put it into four, five or six actsĮven if you are writing a show you know will only work on cable or for a streaming service like Netflix, put it into acts. This will also need to have a hook to ensure the viewer will want to keep watching. It will tease the main conflict of the show. The teaser will be two to three pages that will introduce the reader/viewer into the world of your pilot. The pilot for Ovation’s Versailles has a jaw-dropping twist/hook that locked me in (I don’t want to spoil it, watch it for yourself on Netflix). Every network, from Hulu to ABC, is looking for the next show people want to binge. It’s imperative that there’s a hook in the final scene of your pilot to make sure your audience is desperate to watch the next episode. Your pilot only needs set up a world where a larger story can take place over many hours.Īnna Brewster and George Blagden in Versailles (2015). It will feel like little is happening in your pilot as compared to your feature screenplay, but that is the point. Focus on your first act of the feature screenplay. For a TV show, you get eight to 12 hours (more if it’s on a major network or goes into multiple seasons) to tell your story, so you’ll need to really parcel out the story in bites. In a feature screenplay, we often have to compress a lot of story into a two-hour feast. Tyrion isn’t just the black sheep of the family, he’s also a dwarf, adding more conflict. Cersei and Jamie Lannister aren’t just lovers, they are brother and sister, adding that extra layer of conflict. The more conflict you can bestow onto your characters, the better. Yes, it’s fantasy and the dragons are amazing, yes, it’s action and there are brutal battles with magical weapons, but at the end of the day, we all want to know if Daenerys is going to end up with Jon Snow. A show like Game of Thrones is a good example. Resolution may only come when the show is going off the air. ![]() TV shows, however, are all really soap operas with a beginning and a middle, and a middle and more middle. ![]() One could argue that feature movies are really just fairy tales, with a beginning, middle and end. You can rework your feature into a dramatic TV pilot. And that’s a very good thing for writers.īut if all you have are feature specs, does that mean you have start from scratch? Luckily, no, you don’t. Today, it’s all about television: network, cable, but mostly streaming. Yes, it does still happen, but it’s not reasonable to plan on it happening. The days of selling spec features are long gone. But if you’re working with an agent or manager, they will urge you to write what is currently on trend. Most professional writers will tell you not to chase the marketplace.
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