How to Write and Pitch an Idea for a TV Show
Come up with your "what if?", Research current televised programming to learn about current trends or opportunities., Determine your genre., Develop some characters., Understand what makes a great idea sellable.
Step-by-Step Guide
-
Step 1: Come up with your "what if?"
premise.
This is the premise of every single TV show and idea to run through Hollywood.
It can be as simple as "what if a documentary crew filmed a small paper company?" (The Office) to complex ideas like "what if a chemistry teacher started cooking meth?" (Breaking Bad).
This is the basis of your show
-- what sets it apart, and what will make it sell.
You don't need, or want, to weigh this down with a lot of subplots or other ideas yet.
Just get the essence of your show on paper.
Seinfeld, after all, was famously pitched as "what if we did a show about nothing?" -
Step 2: Research current televised programming to learn about current trends or opportunities.
Use "the trades," such as the ubiquitous and essential Deadline.com or Variety to keep up to date about current Hollywood TV trends.
For example, Deadline ran a story in August, 2015 stating that networks were looking specifically for 1-hour comedy shows to try out.
This can be a good hint as to what is currently selling.Write down names and studios attached to projects that seem like yours.
These are the names most likely to buy your work later. , Genre is the type of show you're making, from sitcom to murder mystery.
There are a lot of nuances to genre, but when in doubt you should look up the genres of your favorite shows online for guidance.
For example, Arrested Development is a "single-camera sitcom, meaning there is no studio audience like in classic sitcoms like Cheers, which is a "multi-cam sitcom.
This difference, though subtle, makes a huge difference when pitching your show, because some networks only want certain shows.
Genre affects your mood, tone, and writing style, and the audience's expectations for certain things.
Having a genre doesn't mean you are locked into one type of story.
It simply makes it easier to market and sell your idea., The essence of all good TV is the character.
Characters are why people tune in week after week and what drives the plot of each episode.
Try and come up with between 2-5 main characters, as any more becomes difficult to manage, with 7 main characters (Community, most dramas) being the upper limit.
You characters should be:
Round.
The characters have multiple facets, not just an "angry woman," or "strong hero." Round characters have strengths and weaknesses, and the chance to grow.
Filled with desires and fears.
Their ability or inability to get over their fear (of being poor, of being alone, of space aliens, of spiders, etc.) is what drives their conflicts each episode and shows you the goals in the series.
Have agency.
A good character makes choices which push forward the plot.
They make mistakes, try and fix things, go to parties, etc. because it is something their character would do, not something the writer needs them to do., Development executives are the people who green-light new ideas, and they hear a lot of them.
The best ideas, or at least the ones that get through, share a few traits:
Originality:
Has this been seen before? Is it similar to anything else and, if so, is it different enough to stand on its own? Projected Cost:
Few studios will risk hundreds of millions of dollars on an unproven writer or filmmaker.
It is difficult to sell big concepts like The Walking Dead if you've just started working in TV, because they have high financial risk.
A Screenplay/Proof of Concept:
This means writing a treatment, script, or shooting some sketches.
Your idea may get you in the door, but you need some work to prove that the show is going to get made. -
Step 3: Determine your genre.
-
Step 4: Develop some characters.
-
Step 5: Understand what makes a great idea sellable.
Detailed Guide
premise.
This is the premise of every single TV show and idea to run through Hollywood.
It can be as simple as "what if a documentary crew filmed a small paper company?" (The Office) to complex ideas like "what if a chemistry teacher started cooking meth?" (Breaking Bad).
This is the basis of your show
-- what sets it apart, and what will make it sell.
You don't need, or want, to weigh this down with a lot of subplots or other ideas yet.
Just get the essence of your show on paper.
Seinfeld, after all, was famously pitched as "what if we did a show about nothing?"
Use "the trades," such as the ubiquitous and essential Deadline.com or Variety to keep up to date about current Hollywood TV trends.
For example, Deadline ran a story in August, 2015 stating that networks were looking specifically for 1-hour comedy shows to try out.
This can be a good hint as to what is currently selling.Write down names and studios attached to projects that seem like yours.
These are the names most likely to buy your work later. , Genre is the type of show you're making, from sitcom to murder mystery.
There are a lot of nuances to genre, but when in doubt you should look up the genres of your favorite shows online for guidance.
For example, Arrested Development is a "single-camera sitcom, meaning there is no studio audience like in classic sitcoms like Cheers, which is a "multi-cam sitcom.
This difference, though subtle, makes a huge difference when pitching your show, because some networks only want certain shows.
Genre affects your mood, tone, and writing style, and the audience's expectations for certain things.
Having a genre doesn't mean you are locked into one type of story.
It simply makes it easier to market and sell your idea., The essence of all good TV is the character.
Characters are why people tune in week after week and what drives the plot of each episode.
Try and come up with between 2-5 main characters, as any more becomes difficult to manage, with 7 main characters (Community, most dramas) being the upper limit.
You characters should be:
Round.
The characters have multiple facets, not just an "angry woman," or "strong hero." Round characters have strengths and weaknesses, and the chance to grow.
Filled with desires and fears.
Their ability or inability to get over their fear (of being poor, of being alone, of space aliens, of spiders, etc.) is what drives their conflicts each episode and shows you the goals in the series.
Have agency.
A good character makes choices which push forward the plot.
They make mistakes, try and fix things, go to parties, etc. because it is something their character would do, not something the writer needs them to do., Development executives are the people who green-light new ideas, and they hear a lot of them.
The best ideas, or at least the ones that get through, share a few traits:
Originality:
Has this been seen before? Is it similar to anything else and, if so, is it different enough to stand on its own? Projected Cost:
Few studios will risk hundreds of millions of dollars on an unproven writer or filmmaker.
It is difficult to sell big concepts like The Walking Dead if you've just started working in TV, because they have high financial risk.
A Screenplay/Proof of Concept:
This means writing a treatment, script, or shooting some sketches.
Your idea may get you in the door, but you need some work to prove that the show is going to get made.
About the Author
Joseph Hall
Enthusiastic about teaching practical skills techniques through clear, step-by-step guides.
Rate This Guide
How helpful was this guide? Click to rate: