TV Development Guide

How an Idea becomes a TV Show

By Stephanie Varella
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Copyright © 2019 Stephanie Varella

Book Cover by: Victoria Case

All rights reserved.

ISBN:172624539X
ISBN-13: 9781726245395

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 DEDICATION

To my sweet, inspiring,
beautiful and wise daughter,
Sage.

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 TABLE OF CONTENTS

‘TEASER’* 13

What You Can Learn From This Book 19

Act 1 WHAT IS ‘TV DEVELOPMENT’? 23

History of the Television in a Nutshell 25
Who Invented the Television? 26
TV Development 28
The Players 28
The Process 30
The Biggest Misconception 31
Kids Programming 31
Reality Programming 32
What is a Reality Show? 33
How to Develop a Reality Show 34
The “Business” of TV 35
The FCC and its Impact on TV? 36
Developing a TV Series vs. a Movie 37
Questions to Consider 39

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Act 2 THE DEVELOPMENT PROCESS 41
The Idea 41
Where Do Ideas Come From? 42
How to ‘Reverse Engineer’ a Project 44
The Different Formats of TV Shows 45
Do You Have a Good Idea for a TV Show? 47
Should You Pursue a Particular Project? 48
How to Option an ‘Intellectual Property’ (IP) and/or 49
a ‘Spec Script’
Have a Great Idea? Now What? 50
You Protected and/or Optioned a Project. Now 51
What?
How to Put Together a ‘Writers List’ 51
You Have a Writer. What’s the Next Step? 53
The ‘Pitch’ 54
How to Get a Pitch Meeting with a Network 54
Goals of a Network Pitch 55
What is a ‘Bible’ for a TV series? 55
What is a ‘Pitch Document’? 56
A Good Pitch vs. a Not-So-Good Pitch 59
After the Pitch 59
The Standard vs. Newer Ways of Pitching 60
What is a 'Sizzle Reel’? 61

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 How to Make a Sizzle Reel 62
You Have Pitched Your Show and it Didn’t Sell. 62
Now What?
You Have Pitched and Sold Your Idea. What’s 63
the Next Step?
Script Development 63
What is a Spec Script? 64
What is ‘Coverage’ of a Script or Book? 64
How an Idea Becomes a Script 65
How Producers and Executives give ‘Notes’ 70
Helpful vs. Harmful Notes 71
Assignments 73

Act 3 THE MARKET PLACE 77

The Networks 77
The Buyers 77
Know the Audience and the Network 78
What is a Buyers List? 79
Selling to Broadcast Networks, Streaming 79
Platforms, Premium Cables, and Basic Cable
The Future of Broadcast and Basic Cable 82
Networks

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Do Networks Own the Shows (content) on their 83
Channels?
Do All Networks Produce Original Content? 83
What is a ‘License Fee’? 84
How Do Studios Fit into the Picture? 84
“Let’s Make A Deal” 85
Types of Deals 86
Strategies for Selling a TV Show 88
What is a Transmedia Campaign? 96
What is a ‘Competitive Development Report’? 97
‘Indie TV’ 98
Assignments 100

Act 4 Q & A WITH INDUSTRY PROFESSIONALS 103

Ted Gold 104
Andrew Plotkin 110
Christina Davis 117
Adam Bonnett 122
Taylor Latham 129
Geoff Silverman 134
Marty Berneman 139
Advice from Top Network Executives 143
Advice from Top Literary Agents 147

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 Act 5 FINAL THOUGHTS 155
Beyond the Pilot 155
Statistics on Television Viewing 157
What Some Actors Said About Working in TV 161
Take Note 162
Final Takes 162
What Do You Do Now? 163
Go Make Your TV Show! 164
Success 164

GLOSSARY 167
SPECIAL THANKS 173
ABOUT THE AUTHOR 175

*Words with single quotes denote TV industry terms, which are

defined in the Glossary.

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 ACKNOWLEDGMENTS

A SINCERE THANK YOU TO:

Susan Musillo for all her help with this book. She inspired me to
write it, edited it and encouraged me throughout the process.

Lew Musillo for his steadfast support and all he did to advance
the completion of this book.

The industry professionals who generously contributed and

shared their experiences.

My students, the next generation of TV developers, who inspire

me every day.

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 TEASER

Do you think your life would make a great TV show?

Almost every person, after I’ve told them that I develop TV shows for a living,
tells me about an idea, or that their life would make a great show. The truth is
creating a TV series is not as easy as one might think.

In the 1990s, when I started working in the entertainment business, there were
certain do’s and don’ts about how to develop TV shows. Today, however, A LOT
has changed. Back then there were just a few networks you could pitch to in
order to sell your show. There were “rules”about what you could and could not
develop. For example, shows had to have a specific structure to them. They had
to have characters who were likable and non-offensive. Overnight ratings were
everything! Today the measure of success is so much more. It’s all about getting
a second season, critical acclaim, awards, cutting through the clutter, ratings
and getting subscribers!

Also, since TV had been around for many decades, it was difficult to come up
with an original idea because it seemed that everything had already been done.
On top of that, this was a huge challenge because the hows had to appeal to a
mass audience. That is not at all the case today.

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At the time, I was a young, eager, green (newbie) executive. All I knew was that I
loved watching TV. I was the kid who couldn’t get enough of it. In college, we
had parties centered around watching TV shows. It was a fun to get together
each week to find out what was going to happen with our favorite shows.

When I moved to Los Angeles from New York in 1993, one week after I
graduated from college, I knew one thing. I wanted to work in entertainment. I
had no idea what anyone did, other than the actors… and I knew I didn’t want to
be an actor. I bought a one-way ticket, knew absolutely no one, sent my boxes to
an address sight unseen and started my new life. Somehow, I knew I was meant
to live in LA. It may not be for everyone, but for me I loved the weather... and it
felt so clean, so open, and so full of possibilities.

My first job was at a very big and famous talent agency, The William Morris
Agency (WMA). Prior to this, I had several internships where I worked in
casting and as a production assistant. But this was my first real, paying job and
it was a great foray into the business. Initially I thought I wanted to learn about
making movies (feature films), because I loved movies. However, the only desk
that was available at that time was in ‘TV Talent.’ Of course, I took it. Getting
this first TV job opened my eyes to a business that I had not considered at all up
to this point and yet would find myself enjoying, thriving and spending the rest of
my career pursuing.

It didn’t take long for me to find out that TV Talent is the department that works
with actors and fills all the acting jobs on TV. At that time the big stars didn’t
want to act on TV shows…they wanted to be on the “big screen” vs. the “small
screen.” They believed that TV was sort of a step down for them. Also, the
independent (‘Indie’) movies were for up and coming actors, not big stars. But,
over the course of my career, I have seen all of that change.

When I think back about that first position at WMA, the only way I am able to
describe it is that it was like being in a sorority or fraternity. The other assistants
were my pledge brothers and sisters. We worked from 8:30 a.m. to 11:30 p.m.
every day and on weekends. It was a whirlwind of hard work, but we gained tons
of knowledge and experience in a relatively short period of time. We were

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exhausted, but we loved it. To this day I am friends with many of those assistants.
Some of them became top executives of their field. Some stayed in the
agency/management world, some became development executives at networks
and studios, and a few became producers and/or writers. Overall, I found it to
be a fulfilling experience and very beneficial for networking in the business.

After a year, I was ready to leave WMA because I knew I did not want to become
an agent. The first non-agency job I heard about was in TV Development. Since I
had worked in ‘TV Talent,’ I didn’t know what it was development people did,
but I was eager to find out.

In the mid 1990s, I was lucky to be offered an assistant position at Spelling

Entertainment. I remember AARON SPELLING (from whom I learned so much)
used to say that “Stars make movies. Television makes stars.” So true! He was a
legend in the TV business. He was a producer who re-invented TV shows every
decade for 40-50 years. It isn’t likely there will be another like him, probably not
in my lifetime.

While at Spelling Entertainment, I went from being an assistant to a young

development executive. It was there that I learned all about what TV
development is, and now I am able to pass on that knowledge to you with this
book. My mentor was JENNIFER NICHOLSON. During the six years I was
there she taught me how TV shows were developed. She got married, became
JENNIFER SALKE and had three babies during that time. She went on to
become the head of 20th Century FOX Studios, the number two executive at
NBC, and is now the head of Amazon Studios. She is one of the top female
executives in the TV business today.

While working at Spelling Entertainment, I was very proud of the fact I was part
of the team that helped AARON SPELLING become the record holder of the
most scripted shows on TV at one time, which was nine.*

Side note: *Months before going to print on this book, this record was
broken by a writer/producer - GREG BERLANTI. He has fourteen shows in
production (9/2018). It is important to remember that today there are over

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 50 places to sell to. When AARON SPELLING was producing, there were
only six. Having nine shows at six places is an amazing feat, and it took 18
years for someone to break that record!

When I started working as Vice President of Series Development and Production

for JERRY BRUCKHEIMER in September of 2001, although he was very
successful film producer, most people did not know who he was. Once CSI
became a huge hit that next year, he became a household name. It was incredible
to be there at that exact moment in time. CSI: Las Vegas and Amazing Race were
just about to premiere and, during my tenure there, we grew to having seven
shows (scripted and unscripted) on the air at one time! This is still his personal
best.

Today, there are more TV shows in production than ever before and over 50
outlets to sell shows. Everything I learned and saw back when I started has
literally been turned on its head. There are no more rules, meaning you can
pretty much develop any kind of show you want and you will probably find a
home for it.

It’s the Golden Age of the TV business and it’s also the Wild Wild West!

*****

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To The Reader:

My hope in writing this book is that people who are thinking about getting into the
TV business will now have a foundation and better understanding from which to
build their journey.

One of the things I’ve done in the past few years is to create and teach a course on
TV Development at UCLA Extension, and to offer private consultations through
TVDevelopmentcoach.com. To my surprise, I discovered that there were no other
classes like it, and there is no book on the market today that explains how an idea
becomes a TV show before it is produced. So here it is.

Many people wouldn’t think there is a specific process when developing a TV show
and as a development executive, you normally do not get a “credit” on the show,
but there is a team of people who truly contribute to the show beyond the credits.

I hope you can see from this publication how much I enjoy developing TV shows.
Being a part of a business that impacts people personally, and both influences and
reflects world affairs, has always been fascinating and thrilling to me. I hope your
journey brings you as much satisfaction.

I am really proud of the projects I have personally been a part of developing,

whether they ended up getting on the air or not. When they are successful, wow!
It’s awesome. There is truly nothing like it.

So whether you want to write, direct, produce for television, or have a more secure
position as a development executive, this book is a great way to start.

With respect and gratitude,

Stephanie

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 WHAT YOU CAN LEARN FROM THIS BOOK

●​ How to transform an idea into a TV series

●​ To think about TV in a more comprehensive and expansive way

●​ What TV Development is and how it works

●​ What is and isn’t working on the TV landscape

●​ How to move forward with your own project

●​ How to build a career in TV Development

●​ The dynamics between the writer and the producer

●​ What goes into selling a TV show

●​ What studios and networks are looking for in a TV series

●​ Who the players are in TV Development

●​ Where ideas come from for TV projects

●​ A good idea vs. a not-so-good idea for a TV show

●​ Whether or not you should pursue a particular project

●​ How to copyright your idea

●​ The different formats of episodic television

●​ The tools to protect ideas and get options on intellectual properties (IPs)

●​ How to pitch your project

●​ The best ways to present your project

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●​ The pitching process for the networks

●​ What’s included in a pitch document

●​ A good pitch vs. a not-so-good pitch

●​ How to improve the quality of your pitch

●​ How to get a pitch meeting with the network

●​ The standard, older ways of pitching vs. the new ways

●​ What a sizzle reel is?

●​ Why you should or shouldn’t produce a sizzle reel

●​ The process of developing original scripts with a studio and network

●​ What a bible is for a TV series and how to put one together

●​ How a script is developed with a writer and a producer

●​ The importance of a script when developing a TV show

●​ How notes fit into the development process

●​ The best approach to give notes to a writer

●​ What a writers list is and how to put one together

●​ Where to sell your idea(s)

●​ Understanding the marketplace, the buyers and the outlets

●​ The current networks/buyers

●​ Which network to pitch to and when

●​ How to define your audience for each project

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●​ How to identify the different audiences at the various outlets

●​ Where and how to sell your show

●​ The differences in selling to a broadcast network vs. a streaming or premium

outlet

●​ Projections for the future of TV

●​ The relationship between studios and their partnerships with

networks/buyers

●​ How acquisitions work

●​ The different types of deals and packages in television

●​ How to get attachments

●​ How to market your project

●​ The importance of a competitive development report

●​ How to develop a strategy for your project

●​ What a transmedia campaign is and how it is useful

●​ What agents, managers and development executives (studio and network)
say about developing TV shows

●​ How the TV business has dramatically changed in the last two decades

●​ The steps to take after reading this book

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22
 ACT ONE

What is ‘TV Development’?

When I went to college, there were no classes to take on Television Development.
There were media classes, writing classes and acting classes, but there was nothing
about how TV shows were developed and got on the air. Even today, this is not
something that is offered in most schools. As I mentioned (in the teaser), I am
teaching a course, at UCLA Extension, the first of its kind (that I know of).

When I fell into working in TV Development in the mid-1990s, little did I know it
would be something I would be doing for the next 20+ years. One thing I learned
was that it can be a very lucrative career of choice. Although there is a paucity of
current salary information for TV executives out there today, I hope the following
gives you some idea of what you can earn.

In 2017, one of the highest paid network executives (who was recently ousted)
CBS’s LES MOONVES, made a whopping $69.3 million! (The Observer, 2018, by
Sissi Cao)

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Another top TV executive Steve Mosko, earned $2.8 million (plus bonuses) in
2015 as SONY’s president. (Hollywood Reporter, “Hollywood Salaries Revealed”
2015, by Austin Siegemund-Broka and Paul Bond)

Here are some statistics from 2012. (Vulture Magazine, “Polone: So How Much Do
Hollywood Players Make?” 2012, by Gavin Polone) Gavin Polone is a very
successful agent turned producer.

STUDIO

●​ A major TV Chairman/President/CEO gets $2 million-$5 million per year.

●​ The Executive Vice President (the person running both comedy and drama
development) makes $600,000 - $1 million per year.

●​ The Vice President (there is usually one for comedy and one for drama) gets
$250,000 - $500,000 per year.

●​ The Director level executive makes $100,000 - $250,000 per year.

NETWORK

●​ The Entertainment President makes $2.5 million-$5 million per year.

●​ The Executive Vice President (the person running both comedy and drama
development) makes $750,000 - $1.5 million per year.

●​ The Vice President (comedy or drama development) makes

$250,000-$500,000 per year.

●​ The Director level executive makes $125,000-$200,000 per year.

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Like most kids, I loved watching TV when I was growing up. Of course my mom,
like most parents, objected to too much TV. But I am here to report that those hours
spent in front of the TV have paid off because it gave me the foundation of
knowledge about TV shows. Even today, with my own young child, I see that most
of her friends’ parents would like to keep their children’s TV watching at a
minimum. There has been study after study telling us that watching a lot of TV is
bad for us. I am neither a doctor, nor an expert on the science of human interaction
with electronics, but I believe, like everything in life, moderation is the key.

There is, indeed, a lot of excellent content on many of the networks today. I believe
this is where it all must begin. For anyone to work in television development,
whether you are a writer, producer, actor, director, or executive, one must have
passion and love for the art of television shows.

New FOX CEO of Entertainment (former AMC President) CHARLIE

COLLIER said, “I think anyone who gets into the business and who
doesn’t have a healthy appreciation for the content and the brilliant people
who create the best of it, is in the wrong business.” (“The Future of Television”
by Pamela Douglas p.56)

I couldn’t agree more. Today, with more shows than ever, watching all of them is
impossible. But when you watch one that speaks to you, it can’t get any better than
that.

In order to understand what TV Development is, we need to know a little about the
history of the television.

HISTORY OF THE TELEVISION IN A NUTSHELL

“Television” literally means long-distance sight or far vision by wireless

transmission. When it was first invented, far vision meant across a room. Later it
meant across a country, and now it’s around the world.

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Similar to other amazing inventions and historical truths, several people around the
globe were inventing this life-changing device, later known as, the television, at
the same time.

Approximately 5,000-6,000 years ago, people began recording history. They were
literally writing words down for the first time to record what was going on at the
time. The amazing thing was that this didn’t just happen in one place in the world.
It happened simultaneously in different places around the world, and these first
historians had no idea about each other. This interesting phenomenon occurred
with the invention of television as well.

WHO INVENTED THE TELEVISION?

That depends on who you ask. Giving credit to the first person who invented
something has become easier over time because of the advancement of technology.
But, back when TV was being invented, it happened in bits and pieces. One person
invented a part of it, and then another took it a step further, and so on. That is the
reason why the inventor of the TV is a hotly disputed subject.

Here are the three people around the globe who are credited with invention of the
television:

An American - PHILO FARNSWORTH

A Russian - VLADIMIR KOSMA ZWORYKIN
A Brit - JOHN BAIRD

Each contributed to its advancement, and suffice it to say we are very thankful to
these inventors and the people who helped them because we are so fortunate to
have the wonderful gift of TELEVISION.

One of the most important progressions for television was in the 1950s when color
TV was introduced by CBS and RCA Victor. The initial RCA Victor color TV set

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cost $1,000 in 1954 and was in four out of ten homes. Today’s equivalent would be
about $6,500. It wasn’t perfect, but people loved it. Gathering around the TV
became mainstream around the world.

At the same time, TV viewers were introduced to a little device called, "lazy
bones,” which was invented by the Zenith Corporation. This is better known as the
remote control. It should be noted that inventors had developed remote-controlled
electronics before this, but it wasn’t until the 1950s that the remote control was
invented for television. At first, they were connected by a bulky wire. Then in
1955, Eugene Polley invented the “Flashmatic,” which was the first wireless
remote. Today voice control is available on some systems and I believe will soon
be commonplace.

TV took another huge step forward in the late nineties when a device called, TIVO,
was introduced. For me this was a game changer. I could finally pause a show, go
to another show, watch it and come back to the original one I was watching. I was
also able to record shows and watch them whenever I wanted. Probably the biggest
concern the TV industry had about this device was the fact that the viewer didn’t
need to watch commercials anymore.

I was working in the industry at that time, and I remember we were all wondering
how the advertisers were going to get passed this. Here it is, twenty years later, and
while advertisers have been finding new ways to get the word out about their
products, commercials are still being aired on TV shows and the viewers are still
fast-forwarding over them.

Today, we have more channels and options than ever before; where you watch
(TVs are everywhere), what you watch, how you watch (live or recorded), on
which device, on which network, etc. One can only wonder where or what is next
for the evolution of television.

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Television Development

Let’s take a look at the various roles people have in TV Development.

THE PLAYERS:

WRITERS

EXECUTIVE PRODUCERS

PRODUCERS

STUDIO EXECUTIVES

NETWORK EXECUTIVES

BUSINESS AFFAIRS EXECUTIVES

WRITERS

This is where it all begins. Writers are the ones who literally create, dream,
envision, and tell the stories that ultimately sell and become TV shows. It is their
vision that an executive producer (if attached) must be as equally passionate about
and support.

The writer/creator is most often attached as an executive producer. She or he is

called, the “creator,” and would get “created by” credit on the show. If it’s their
first project, sometimes they will start with a co-executive producer (Co-EP) credit
before being elevated to executive producer, but they would always get the
“created by” credit. This is mandated by the Writer’s Guild of America (WGA).

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EXECUTIVE PRODUCERS

An Executive Producer (EP) is a creative partner to a writer. They help facilitate

the writer’s vision by assisting in setting up the project either at a studio and/or
network or through independent financing. They can be either writing or
non-writing executive producers. The writing executive producers are known as
‘showrunners.' Writers can bring an idea to an EP, or the EP can bring one to them.
Together they shape the idea into a series and bring it to life.

A non-writing EP always needs a writer/creator. In order to sell and produce a

series with a network/buyer, they need to know the writer’s vision. There is a
particular circumstance where an EP can bring an IP (more on “IPs” in Act 2), or
an idea, to a network without a writer and enlist their help to find the writer, but
networks would not buy the idea until the writer is attached.

PRODUCERS

In the credits of a TV show you will see many names with different types of
“producer” credits. These are the writers and/or physical producers on the show.
The writers work in the writer’s room with the creator of the series and help ‘break
the story’ for each episode in the season(s). Oftentimes they will write episodes of
the series. The ‘below the line,’ or physical producers, on the show help with the
actual production of the show.

STUDIO EXECUTIVES

The Studio Executive is the person who works for the company that 'deficit
finances' the project. The studio owns the show. Deficit finance means the studio
will pay the amount of money it costs to produce the show above and beyond what
they get from the network.

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NETWORK EXECUTIVES

The Network Executive is the person who works for the company that pays a
'license fee' for the project in order to air it on their network. A license fee is an
actual fee that the show (the studio) gets from the network for the right to air it. It’s
like renting vs. owning. The network, in turn, will charge advertisers a fee to
place ads (commercials) during the show.

At the network and the studio, as well as some production companies (companies
that writers and producers form), there can be two types of executives:
Development and Current.

●​ Development Executives develop the pilot for the series.

●​ Current Executives work on the life of the series while it is on-the-air, in
'first run.’ First run is the first airing of a show.

BUSINESS AFFAIRS EXECUTIVES

The Business Affairs Executive is an entertainment attorney who works for either
the studio or the network. She or he makes all the deals. (More on “Deals” in Act 3)

THE PROCESS: HOW DO THEY ALL WORK TOGETHER?

Writer(s), with or without non-writing producer(s), bring their ideas to studio

executives…

They then work together on the “project” and bring it to the buyers, the network
executives…

All of them work in concert on the project and, hopefully, it becomes a SERIES!

If you are wondering whether writers can sell their ideas directly to a network
without a studio and/or have a non-writing producer attached, the answer is yes.

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It is not necessary to have all these people and/or elements attached to projects to
get it sold, but in my experience it is a rare show that is sold from a writer directly
to a network.

When writers do ‘pitch’ directly to a network without a studio and/or producers

attached, it would require the network executives to put more work into the project.
This is in part because the studio and/or producers usually get a project to a certain
level before bringing it to the network. When a project comes to a network with
‘attachments’ already in place, the network can and will probably have a better
idea of what they are buying. On the flip side if the network gets involved in
bringing on elements, they will have more of a say/control with the project and in
turn, become more invested.

THE BIGGEST MISCONCEPTION ABOUT TV DEVELOPMENT:

I have found the biggest misconception people have is when they believe they have
a great idea for a TV show, they also believe it should, and could be easily made
into one. My hope with this book is that you will see there is much more than
meets the eye when developing TV shows. Also, that every great idea does not
translate into a viable TV show.

KIDS PROGRAMMING

When I was growing up, Saturday morning was dedicated to kids programming.
Now there are entire networks that specifically develop and cater to kids (i.e.,
Disney Channel, Nickelodeon, Cartoon Network).

Kids programming is run a bit differently than ‘prime time.’ Prime time is
programming for adults, ages 18-49, which is the most coveted demographic.
Prime time is considered to be after dinner and before bedtime, or from 8:00–10:00
p.m.

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How is kids programming different? One big difference is that the network and
studio usually act as one entity. This business model has its advantages, they own
the show and also because profits from the shows are made in more ways than just
advertising. They have things like merchandising, which is a very important factor.

Additionally, kids programming usually doesn’t have separate executives working

on the pilots and the series. Sometimes they do have different departments for
Current and Development, but most of the time they have executives that develop
and also work on the shows on the air.

Another big difference is that kids programming also has movie and animation
departments that complement their series development, although not all of them
do.

When I first started to learn about kids programming, I was really surprised to hear
that ideas are usually developed in-house or internally, which means the network
executives generate or come up with ideas themselves. Then they pitch the idea
(could even be just a title) to a writer(s), who comes back with a more detailed
pitch on the idea. The network then decides which take they like the best. This is
definitely not how shows are developed for other networks, but it is very similar to
the way that feature (movie) film development works. However, it is still possible
and definitely does occur where producers and/or writers bring in pitches and/or
completed ‘spec’ scripts for consideration.

A ‘spec’ script is a pilot script that a writer writes before being commissioned, or
paid, to write it. Writers write specs in order to display their writing skills and their
“voice.” It is a sample of their writing. (More on this in Act 2)

REALITY PROGRAMMING

When I started working in TV, there were not many reality shows. However, in the
last twenty years there has been a sea change in the industry. Reality shows are

32
quite prevalent and there are probably more of them than any other format in
today’s TV marketplace. (More on “Formats” in Act 2)
They can be game shows (American Idol, The Voice), docudramas (Keeping up
with the Kardashians, Housewives of…) and everything in between (Survivor, The
Bachelor, etc.). There are even several networks that produce only reality shows
(HGTV, TLC, The Food Network, TruTV).

Probably the best time in history to sell a reality show is right now!

WHAT IS A REALITY TV SHOW?

A reality TV show is supposed to be a television show without a script, but most of

them are actually semi-scripted and manipulated. This changes the authenticity of
the show because the producers are providing made-up scenarios for the cast to
engage in. This is different than scripted shows where the actors are acting and
reciting lines from a script.

On reality shows, the participants are not acting, they are being themselves. The
viewer watches and follows “real” people who purportedly speak their truths. For
this reason, I believe the most important consideration in making a reality show is
the casting. Finding the right people is critical. They must be inherently interesting
and watchable.

The irony is that sometimes, especially if the acting is really good, a scripted show
can seem more real, or authentic, than a reality show. This is due in part to the
practice of manipulation on semi-scripted reality shows. In the history of
television, the lines between reality and scripted are more blurred than ever before.

In the early 1990s, reality shows were becoming more popular because it was
considered less expensive programming for primetime. While at BRUCKHEIMER
TV, I had the privilege of working on ABC’s Profiles from the Front Lines and
CBS’s The Amazing Race.

33
I experienced first-hand the development and production of these very ambitious
and unique reality shows.

The Amazing Race was a very fun experience for me starting with the casting,
where we met with many couples who were trying out for the show. They had to
go through meetings, tests and even medical evaluations before being chosen. It
was an important process because we had to make sure they were physically and
mentally fit to race.

It was truly a wild ride working as an executive on Race. I was in and out of each
city literally within three days. I followed contestants as they ran the race with the
camera and sound crews running with them. Much of the time the crews were
running backwards! There was very little eating, sleeping and showering. No time
for anything but the racing. Throughout the experience, I got to see what people are
truly made of, which really came to life in the post-production of the show.

I worked on the first five seasons and it won an Emmy every year for “Outstanding
Reality Competition Program.” If I could have chosen only one reality show to be
on, it would have been Race… but working on it was the next best thing!

HOW TO DEVELOP A REALITY SHOW

If you are interested in developing a reality TV show, one of the first things you
must figure out is what will be happening in each episode? How will every season
unfold? If you put your thoughts and ideas down on paper, in detail in a ‘treatment’
form, you can protect it by registering it with the WGA. (See Act 2 for details on
protecting your work)

The next step would be to research which production companies are already
producing similar shows. Then, call or email them.

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They are always looking for new ideas, so it can’t hurt to start with a phone call or
email. Another way to present your idea is to shoot a sizzle/proof of concept reel.
For a reality show, the sizzle reel is a shorter version, or part of an actual episode
and can/should include potential casting ideas. (See "Sizzle Reels” in Act 2)

THE “BUSINESS” OF THE TV BUSINESS

As you can imagine, the business side of television is all about the dollars and
cents, which of course is extremely important. It is always about the bottom line,
profits and what makes sense financially. However, I will not spend a lot of time
covering this topic because, it is not my area of expertise. There are many books
dedicated to the business side of television as well as people more qualified to
discuss this, like the entertainment attorneys. But I will give you a basic
understanding, which I believe is crucial for working in TV.

In the previous section entitled, “The Players: Network Executives,” I explained

how a network makes money from advertisers by charging them for commercials.
This is one way networks make money. The way studios, either attached to a
network (sometimes called, ‘sister studio’) or independent, make money is by
owning and then selling produced and aired shows in syndication (re-runs) and
internationally.

Studios can also become partners with another studio. As partners they deficit
finance the show together. By doing so, they split in the rights to sell it
domestically and internationally, then share in the profits. One reason independent
studios will partner with network-owned (sister) studios is to have them (the
network that bought the show) more invested, emotionally and financially, in the
success of the series. That network will usually promote and stay with the show
longer when their sister studio is attached to it. However, most studios would
prefer to own the entire show and not partner on it because then they would make
all of the profit. But, of course, that only happens when the show is successful. On
the other hand, having a partner would be a good thing if the show fails because

35
there is usually a significant amount of a financial loss. It’s the old adage, “Less
risk-less reward, high risk-high reward.”

In 2016:

ABC owned or co-owned 9 out of 10 new series.

CBS owned or co-owned all 10 of its new scripted series.
FOX fully-owned 9 out of 10 new series.
NBC owned or co-owned all but three new series, 9 out of 12.

In 2017:

ABC owned or co-owned pilot 7 out of 12 new series.

CBS owned or co-owned 6 out of 8 new series.
FOX fully-owned 11 of their new series.
NBC fully-owned 11 of their new series.

One of the reasons this model poses a problem is because in essence it shuts out
independents. In 1970, the FCC dealt with this issue.

WHAT IS THE FCC AND ITS IMPACT ON TV?

The Federal Communications Commission (FCC) is an independent agency of the

United States government created to regulate interstate communications by radio,
television, wire, satellite and cable. In 1970, it wanted to prevent the “Big Three”
networks, ABC, CBS, and NBC, from monopolizing all broadcasting so it ruled
that networks could not own any of the programming (shows) that aired in prime
time (from 8:00-10:00 p.m.). This was a VERY BIG DEAL. It completely altered
the relationship between the networks and television producers, and created a huge
opportunity for independent TV companies. Many shows, like The Mary Tyler
Moore Show and All in the Family, were made possible because of this rule.

36
In the 1980s, these rules were relaxed because networks could not maximize their
profits. In the 1990s, the rules were repealed. All this led us to where we are today
with the networks owning most of what they air. This effectively shuts out
independents, but with the rise of the streaming networks, the doors have opened
yet again for new, independently produced shows.
Nowadays, anyone with a camera and a computer can put a show on the air (e.g.,
YouTube). However, the downside is that no one is getting the mass audiences they
got when there were only three channels… and probably never will again.

WHAT’S THE DIFFERENCE BETWEEN DEVELOPING A

TV SERIES VS. A MOVIE?

It is important to understand that not every idea can be both. In fact, most ideas
lend themselves to be either a TV show or a movie, usually not both. There are
plenty of examples where TV shows became movies and vice versa, but in general
here’s what to look for in TV shows vs. movies:

TV SHOWS

TV shows are about relationships. They are intimate and have stories viewers can
relate to. Whether watching them alone or with others, and often at home, these are
stories that connect to contemporary experiences and issues that matter. Viewers
become invested in the characters and want to watch them either week after week
or 'binge watch.’ Stories can have either a longer arc (‘serialized’), which is told
over time/season(s), or they can be franchised, which are episodic and told in one
hour or less.

MOVIES

In general, movies are about a specific incident(s) or event that shaped/changed a

person’s life significantly. There is a very distinct beginning, middle and end that
can be told in about two hours. The audience must feel some satisfaction at the end
of the movie.

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HYBRID

An example of a hybrid TV series and feature film is a ‘miniseries.’ Miniseries

have the same elements of a movie, but because they have more story or content
that fits into a two-hour format, they fall into the miniseries category. (More on
Formats in Act 2)

*****

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 Questions To Consider

●​ Are you more of an “ideas” person or a writer?

●​ If you aspire to be a writer, how much have you written?

●​ What do you watch? What kinds of shows are they?

●​ What are your feelings about the shows that are on TV today?

●​ What kinds of TV shows/genres/do you feel are missing on the today’s TV

landscape today?

●​ If you were a network president, which network would you want to run and
why? What would your mandate/‘brand’ be and why?

*****

39
40
 ACT TWO

The Development Process

THE IDEA

If you want to develop a TV show, you have to start with a “great” idea or concept.
“Great” being the operative word because what you or I think is a great may indeed
be great, but there are other considerations that also have to be met.

Good timing is imperative. Your idea has to be what a network executive is looking
for at that moment in time. For an idea to develop into a show, a group of people
(writers, producers, and network executives) at a specific moment in time have
what they believe is a great idea for a show. Together, and with you, they work on
it, develop it, and then work on it some more. In the end, they do everything they
possibly can for it to become a TV series.

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Here’s what some of the top TV executives have to say about ideas/concepts for
TV shows:

“There's no room for mediocrity” says, PATRICK MORAN, head

of ABC. “It's the end of ‘Who gives a shit?’ television. It all has to
be great.” (Vulture, “The Business of Too Much TV,” 2016, by
Josef Adalian and Maria Elena Fernandez)

Veteran showrunner CARLTON CUSE (Lost, Bates Motel) said,

“…so many networks and producers scramble again and again to
make television that’s great, finding standout ideas and then
turning them into actual shows has perhaps never been more
difficult.” (Vulture, “The Business of Too Much TV,” 2016, by
Josef Adalian and Maria Elena Fernandez)

Writer/Producer TREY CALLAWAY (Revolution) said, “One not

entirely healthy change the TV business is borrowing from the
feature business is that their source materials have become
extremely important, in some cases too important. It’s not enough
to have a great original idea for a series. It’s often as important to
have source materials behind it - a book, comic book, previous
television series, 'based on a…' It gives networks and studios a
comfort level, feeling like they’re plugging into an existing track
record.” (“The Future of Television” by, Pamela Douglas p.56)

WHERE DO IDEAS COME FROM?

Ideas can and do come from anywhere, however…

When I started out as a young development executive, it was said that coming up
with a new idea was nearly impossible. At that time, 50 years of television shows

42
had already been produced, so how could anyone possibly come up with a new
idea? I have learned that there are several ways to come up with new ideas.

Here are some, as follows:

1. ORIGINAL IDEAS

There will always will be original ideas. Meaning someone created the concept on
their own and there is nothing else like it. It is totally unique. An idea can come
from you, your friend, a familymmember, or anyone. It can be something that
happened, or is happening, to you, or someone you know, or not, and it can be
based in a totally fictitious place. It’s an idea that is different than anything that has
been produced or published. Some examples of this are Orphan Black, Black
Mirror, Six Feet Under, and X-Files.

●​ A NEW VERSION OF AN OLD IDEA

Another way, which is not very novel, happens to work particularly well. It is how
a lot of new shows get created today, and that is to come up with a new version of
an old idea. This new version would be a reimagining of an old idea, meaning that
none of the characters, title, or anything is used from the old idea. It’s still
considered original but a big advantage in developing this type of show is that you
don’t need to buy the rights to the old idea because it is a totally different new
version. This should not be confused with a ‘reboot,’ which is an updated version
of an old TV show. In this instance, you would need to buy the rights in order to
develop it. (See #2 below)

When I was working at Spelling Entertainment, AARON SPELLING told us about

a show he produced in the 1969, called, The New People. It ran on ABC for one
season (17 episodes). He had the beta-tapes (pre-video cassette tapes) in storage,
which I watched. The show was about a group of survivors of a plane crash on a
mysterious island. Sound familiar? It should because there have been several TV
shows made that are similar to this idea. We had a show on UPN that we developed
based on this idea called, Mysterious Island. Then years later, Lost was produced

43
on ABC. Now if you take out the element of the plane crash and replace it with a
boat, you have Gilligan’s Island! Similarly, CSI is just another way to do an old
show called, Quincy. How I met your Mother is another way to do Friends.
Goonies becomes Stranger Things and the list goes on and on.

2. ‘INTELLECTUAL PROPERTIES’ (IPs)

Ideas can come from intellectual properties. These are ideas based on articles,
books, comic books, graphic novels, someone’s life rights (past or present), short
stories, poems, blogs, past TV shows, movies, or basically any idea for a show that
has been published or produced. In order to use these ideas for TV shows you
would need to obtain the rights. (See “How to Option” below) Examples are The
Walking Dead (based on a comic book); Game of Thrones and Big, Little Lies
(based on books); Fargo (based on a movie); and One Day at a Time (based on an
old TV show).

3. PUBLIC DOMAIN

An idea can also come from the public domain. These are literary works that are
owned by the public and were published before 1923. This means that you do not
have to option (make an agreement for the rights) these publications, like you
would an IP. An example of this could be anything written by WILLIAM SHAKE-
SPEARE. You can also have an idea that is loosely based on historical events, like
Genius, which aired on NatGeo in 2017. If the IP was written after 1977, it
becomes public domain 70 years after the death of the author. Between 1923 and
1977, there are different laws that apply. For works created during that time, refer
to the copyright website, Copyright.gov.

HOW TO 'REVERSE ENGINEER' A PROJECT

Let’s say you have a great original idea for a TV show. Nowadays it is preferable
for buyers, and thus more salable, if your idea is based on your own IP. If you
create a comic book or graphic novel based on your original idea before taking it to

44
the market, you can base your series on that IP. This is an example of reverse
engineering a project.
Or, let’s say you have a great original spec script, but the networks are more
interested in buying pitches this season. If you or your producers/studio believes it
will sell better as a pitch rather than a spec, then you can reverse engineer it and
pitch the concept rather than go out with the spec script.

WHAT ARE THE DIFFERENT FORMATS OF TV SHOWS?

●​ Drama
●​ Comedy
●​ Reality
●​ Back-door Pilots
●​ Mini-series/Limited series
●​ Movies of the Week (MOWs)
●​ Anthology series

⬛ DRAMA
Dramas are usually one-hour in length, however this is changing. For broadcast
and basic cable networks, one-hour dramas are actually closer to 42 minutes in
order to allow for the commercials. On premium networks (like HBO, Showtime,
Starz, and streaming outlets like Netflix and Hulu) there are no commercials and
the one-hour drama is around 60 to 85 minutes. I don’t believe there will be any
episodes of a show that would go longer than that because then it becomes a
feature length movie.

Dramas can also be serialized or ‘procedural.’ Serialized dramas have episodes

which are connected and must be watched in order. Some examples are This is Us,
The Sopranos and Orphan Black.

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Procedural dramas (sometimes called, “franchise”) have stand-alone episodes.
They do not need to be watched in order. Some examples are CSI, Law and Order
and House.
There are also hybrids like Six Feet Under, Nip/Tuck, X-Files and The Good Wife
where there is a “case” or story of the week, and then on-going storylines that
connect each episode.

⬛ COMEDY
Comedies are usually a half-hour in length. On broadcast and basic cable it is
closer to 22 minutes, and on premium and streaming outlets it’s closer to 30
minutes. There is also a hybrid comedy/drama, which can either be 30 minutes or a
one-hour format and these are called, ‘Dramedies.’ Comedies can be serialized or
not.

⬛ REALITY
Reality shows vary in length. For example, The Real World was a half-hour in
length. Survivor and American Idol are one-hour each with some episodes
extending to two-hours in length including commercials.

⬛ BACK-DOOR PILOTS
Back-door pilots are intended to be the first episode to a longer series but in the
event they don’t do well, they can air it as a two-hour movie. An example of this is
the pilot from Lost on ABC.

⬛ MINI-SERIES/LIMITED SERIES
Mini-series/limited series are usually one-hour dramas that are serialized and
close-ended after one season. Examples are Olive Kitteridge; Big, Little Lies; and
The Night Of; all on HBO. Some can continue like Fargo, American Crime Story,
and American Horror Story, but each would have a completely different cast
and/or story-line for every season.

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⬛ MOVIES OF THE WEEK (MOWs)
MOWs are movies made especially for television. There weren’t many made
because most producers wanted it to have a theatrical run before airing it on TV.
However, MOWs are making a come-back. Hallmark, Lifetime, HBO and, more
recently, Netflix are producing MOWs.

⬛ ANTHOLOGY SERIES
In an Anthology series, the episodes are connected by an overall theme, yet are
stand-alone. They are not serialized and can be watched out of order. Some
examples are shows like Twilight Zone, Tales from the Crypt, Outer Limits and
Black Mirror.

Sometimes shows like Fargo and American Horror Story are referred to as an
Anthology Series. In fact, they are more of a hybrid between an Anthology and
Limited/Mini-Series because they have a different cast and story-line in each
season. A “true Anthology series” would have stand-alone episodes and are only
connected by the sweeping “theme” of the series.

HOW DO YOU KNOW IF YOU HAVE A GOOD IDEA FOR

A TV SHOW?

Whether it’s original or comes from an IP, here are some criteria:

Good Ideas For TV:

●​ Should speak to you, mean something to you, and be something you are
passionate about!

●​ Have character arcs, change over time and possess many stories. In
procedurals (dramas that have stand-alone episodes) this is less so, but the
characters still should have arcs.

47
 ●​ Are clear and simple to explain yet complicated enough to fill several
seasons of stories!

Ideas Not Ideal For A TV Show:

●​ Work better in a two-hour format/three-act format. They are more of an

event, which is something that has changed someone's life in a significant
way.

●​ Works well in short-form, like a web series (2-15 minutes length episodes).

●​ Are convoluted, confusing and not relatable.

SHOULD YOU PURSUE A PARTICULAR PROJECT?

If you are a writer, producer, director, studio or production company development

executive, simply put, you should if:

●​ You can sell it

●​ You love it
●​ You believe in it

If you are a network development executive you should if:

●​ You believe in it
●​ It’s within your networks’ brand
●​ It will connect with your audience

HOW TO OPTION AN IP AND/OR A SPEC SCRIPT

You do it with a legal, written agreement between you and the rights holder of the
material (“Agreement”).

48
In the Agreement, you negotiate the terms of the deal. The standard way to obtain
these agreements is through an entertainment attorney.

There are Two Kinds of Agreements:

1.​ An ‘Option Agreement’ is where the person proposing the agreement

(producer) pays the creator for the rights upfront for his/her material.
Everything (credits, points, time, etc.) is negotiated and agreed upon before
the producer can present it to the marketplace.

2.​ A 'Shopping Agreement’ is where there is no upfront cost for the person
proposing for the agreement (the producer). They have the right to “shop”
(try to sell) the project for “x” amount of time for no upfront cost. Then the
studio or network that buys the project will make deals with both the
producer and the creator of the IP.

What are the Benefits and/or Costs of an Option Agreement?

●​ The benefit of an Option Agreement to the creator is that she or he will not
have to wait to get paid for their project (IP). The benefit to the producers is
that since they paid for the rights upfront, they will get more in return. The
length of time they have to sell the project, the ‘points’ on the back-end
(profit sharing), and the fees that both parties would get on the project once
it is sold will be pre-negotiated and, of course, in the producer’s favor.

●​ The cost of an Option Agreement to the creator is that she or he will not get
the best deal for their project (IP). Waiting to make a deal with the studio,
puts the creator in the power position. The cost for the producers is that it
literally costs them cash out-of-pocket.

49
What are the Benefits and/or Costs of a Shopping Agreement?

●​ A Shopping Agreement is beneficial for the producers as well as the

creators/rights’ holders. It’s good for the producers because they don’t have
to put any money up in order to be attached to the project (IP). It is good for
the creator because, once the project (IP) is sold, she or he will make a better
deal with the studio directly.

●​ The cost of a Shopping Agreement for the creator is that she or he will not
get any money until it is sold. The cost for the producer is that she or he may
not get as great a deal once the project is sold than if they had paid for the
rights prior to selling it.

YOU HAVE A GREAT IDEA. NOW WHAT?

PROTECT IT!

The most commonly used methods by professionals today is by registering with the
Library of Congress or the Writers Guild of America’s (WGA) time-stamped
registration for proof of creation. You will receive an instant WGA Registration
number when registering online, and a certificate by mail to follow.

⬛ Copyright Basics
The United States copyright law gives the creator(s) of said works exclusive claim
of ownership over their work. In addition to legal protection, copyright protection
encourages respect for the creators and for their ideas. It provides exclusive claim
of ownership to the copyright holder and they may allow their works to be used by
other parties without fear that their ideas will not be attributed to them.

It should be noted that you cannot copyright an “idea.” You need to have a script or
at least an outline/treatment for the idea. For reality show ideas, you can put
together a treatment that explains the idea and format of the show.

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YOU HAVE PROTECTED AND/OR OPTIONED A
PROJECT. NOW WHAT?

If you are the writer, or you have a writer attached to your project, you should
begin working on the pitch and putting together the ‘package' and strategy for the
project. I will get more into that in the below. (See “Strategies for Selling a TV
Show” in Act 3)

If you don’t have a writer, and you just acquired the rights to an IP, start thinking
about how to adapt it into a series. When you are meeting with writers, or if you
can set up a meeting with producers, production companies, studios or networks,
you will need to pitch how you believe the IP can work as a series.

To start looking for writers you should put together, what is known in TV
Development as, a 'writers list.’ You may find this to be one of your most
often-executed tasks since you will need a list for every project and it has to be
updated all the time. But it is an integral part of the process for success and you
will find this to be one of your most useful tools.

WHAT, WHY AND HOW DO YOU PUT TOGETHER A

WRITERS LIST?

WHAT is a Writers List?

●​ Let’s say you are a producer in need of a writer for your project. You would
put together this “wish” list, keeping in mind that these writers should be
obtainable; meaning they are potentially available when you would need
them and would be open to listening to your idea(s).

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WHY would you put a Writers List together?

●​ You will produce a list for every project you have in development for two
important reasons: First, to find a writer for the project; second, if your show
gets on the air you would need to staff it with writers, and once the show is
on the air, you will have on-going staffing needs.

●​ Another list of writers to create is with those you’ve read. Whether you want
to be a development executive, writer, producer or director it will be useful
to keep a list of your thoughts on every script you read. If you are an
assistant, you may need to make a list of the writers your boss has read.
Knowing writers and keeping a writers lists will prove to be invaluable for
your future as an entertainment professional

HOW do you put a Writers List together for a specific project?

●​ First, you can look through the TV shows currently being produced/on the
air that are similar to your project and see who the writers are on that show.

●​ Also, in general, if you develop a show with lower-level writers you will
need to attach a showrunner. This is because the networks are not only
buying ideas, they are also buying experienced people who can produce the
show for them. Lower-level writers are learning and, once they’ve worked
their way up on numerous shows, networks will be eager to work with them.
Showrunners are in need all the time. This is a very highly coveted job in the
TV industry. You can find this information on IMDBpro.com or on the
shows (in the credits) themselves.

●​ Another way to put together a writers list is, if you are an executive you will
most likely be getting submissions from agents. You will need to read these
scripts in order to decide which writer makes the most sense for your
project.

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The format of writers lists vary, but it should include the following:

●​ name of the writer

●​ his or her agent
●​ contact information
●​ best and current credits (including the last title, ie., EP, co-EP)
●​ a section for notes (where you can include what happened
when pursuing them, or not, etc.)

A writers list is an extremely important part of the development process.

Let’s say you have successfully put together a writers list, pursued several writers
and attached the best one for your project. Great job!

YOU HAVE A WRITER. WHAT’S THE NEXT STEP?

The all important PITCH.

When pitching the show, the writer and/or creator will discuss his or her idea for
the pilot script as well as the series. Whether you are working with a studio or
planning to pitch the idea to them, you would work on a ‘pitch document.’

At this point, you should decide if you want to develop this idea into a script before
pitching it. This can be done independently or with a studio. The different ways to
develop a script from an original concept or an IP will be covered below. (See
“Script Development”)

If you choose to develop the script, after it is completed you would be pitching the
long arc of the series in order to sell it to a network (See “Goal of Network Pitch
#2” below) or to try and get independent financing. (See “Indie TV” in Act 3)

In this section, I discuss the different aspects of pitching, the pitch document, how
to work on one, the importance of it for your pitch, and the pitch itself!

53
THE NETWORK PITCH

There are two kinds of pitches:

●​ Selling an idea to get a script order (and possibly more)

●​ Selling a spec script to get a series order

THREE WAYS TO GET A PITCH MEETING WITH A

NETWORK

1.​ If you have an agent and/or studio attached to your project, they will set up
the meeting for you.

2.​ If you know the network executives, you can call and set up the meetings
yourself.

3.​ You can ‘cold call’. A cold call is when you don’t know the executives, but
you call them to inform them about your project and try to set up a meeting.
If you have an IP the network is interested in, they will probably meet with
you even if you don’t have TV credits.

During your phone conversation, you will have a brief chance to get them
interested/excited about your project. This is sometimes referred to as the “elevator
pitch,” and is very different than the formal meeting done at the network. On this
call, they will make sure they don’t have something similar in development, the
show has a concept they are interested in developing, and is one they feel is right
for their brand. (See “Know the Audience” in Act 3) If the network is interested,
they will set up a more formal meeting where the writer pitches the idea more in
depth about the idea.

54
Who are the Participants in a Network Pitch Meeting?

●​ Writer/creator(s) (which could be a showrunner as well)

●​ Showrunner
●​ Producer(s)
●​ Talent (if attached)
●​ Studio executives (if attached)
●​ Agent(s) (sometimes, not always)
●​ And of course, the network executive(s)

WHAT IS THE GOAL OF YOUR NETWORK PITCH?

1.​ If you are selling an idea to get a “pilot script order” (and hopefully more),
you are coming in with a concept/idea/IP that you will pitch in order to get
the network to buy the pilot script or, even better, a series order which would
be written by the writer you have attached to your project.

2.​ If you are meeting with the network after they’ve read and liked a spec that
you’ve sent them, you are now pitching them to get a series order. This is a
totally different kind of pitch. In this case, you are selling them on where the
series is going (the long arc of the series, which could include up to five
seasons), what the themes are, what statement you are trying to make, etc.
But, if it’s a limited series it could have any number of episodes from 6-13.
Also, if you have a plan to have that limit- ed series go on for additional
seasons like Fargo. (See Pitch Document based on a Spec Script below)

WHAT IS A ‘BIBLE’ FOR A TV SERIES?

As you prepare for your pitch, you should work on the bible for the show. You
wouldn’t necessarily pitch the whole bible, but it’s good to have most of it thought
out. The bible is the extended plan for the series. Whether it is a comedy or drama,
serialized or a franchise (procedural), it would include:

55
 1.​ Logline
2.​ Description of the ‘world’/Overview of the series
3.​ Themes
4.​ Tone
5.​ Main character descriptions

For a Procedural/Franchise show:

The bible would include many episode ideas because the network needs to see that
the show can last, at least a hundred episodes!

For a Serialized show:

The bible would include detailed arcs for the main characters and story in the first
season, along with ideas for season two and beyond. The network would want to
understand and see that you have a clear vision of the show’s first season. Also,
make sure to add REVEALS along the way and a BIG TWIST in the finale, that
propels the viewer into season two.

WHAT IS A PITCH DOCUMENT?

Now that you know who you are pitching to and what you are pitching, how do
you properly prepare for the pitch?

A Pitch Document is a blueprint for the pitch. The writer/creator of the show and
the producers work together on this document. If there is a studio involved,
initially they would not work on it, but would get involved after the producers are
ready to share it with them (studio executives).

Writers and producers use this document as a tool for preparing the pitch before
pitching to the networks. If all goes well at the studio run-through, the producer
and/or writer would then perfect it with the studio’s input.

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THE PITCH DOCUMENT BASED ON AN IDEA:

This idea can be original, an IP or from the Public Domain, and should contain the
following elements:

●​ The opening (or the first thing to consider) is how the writer/creator plans to
start the pitch. For example, you can open with the proposed beginning of
the pilot (like the teaser, which is the opening scene), or you can open with a
description of the main character. You can use the set-up, the themes, or the
world of the show.

●​ Another important element in the opening is a logline, which is a short

description of the show. For example, “This is a single-camera, half-hour
comedy about…”

●​ Perhaps the most important consideration in any of the above scenarios is,
“Is it engaging?” “Does it draw people in?”

There are many different ways to start your pitch. Deciding what works best for
you and your idea is crucial.

●​ Next, the writer can describe the overview, or premise of the show. This is
where the creator can get into more of the details that are part of the bible
(where the series will live, what the world of the show is, the tone, look,
etc.).

●​ At this point, the writer can go into more detail about the characters, their
descriptions, arcs, turns, reveals, themes, etc.

●​ Once again, it is most important to be engaging throughout the pitch. Enrapt

your audience in your vision and take them on a journey. Paint a visual story
they can “see” on the TV screen.

There are some writers who post pitch documents online. You may be able to
access these samples on the internet.

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If a network has read and liked your spec pilot script, you will not have to pitch as
outlined above.

THE PITCH DOCUMENT BASED ON A SPEC SCRIPT:

Your pitch should be focused on the following:

●​ Getting into the details included in your bible of the series.

●​ The network will be very interested in finding out specifically what happens
in episode two and beyond. This would include all character arcs, storylines,
plot twists and turns, etc.

THREE IMPORTANT QUESTIONS TO ANSWER IN YOUR PITCH

This holds true whether you are trying to sell an idea or after they’ve read your
spec pilot.

1.​ WHY YOU? Why are you the perfect person for this project? Talk about
what attracted you to this project and how it resonates with you.

2.​ WHY NOW? Why is it perfect timing for this project? Talk about why it is
relevant in the marketplace and at this point in time. Does it have any
relevance to what is happening in the world now or projected to happen?
Does it have social or political relevance?

3.​ WHY SHOULD WE CARE? Talk about why we should care about this
project. What is the series saying to its audience?

For either type of pitch, one last thing you may want to discuss is the network’s
brand, their audience and how this show, in particular, would resonate with them.

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HOW TO TELL A GOOD PITCH FROM A NOT-SO-GOOD
PITCH

A Good Pitch:
●​ Is engaging
●​ Keeps them interested
●​ Has them asking probing questions

A Not-So-Good Pitch:
●​ They are checking their watches
●​ Their eyes are glazed over, yawning
●​ They are not looking at you
●​ They are asking questions about things you already discussed
●​ They said they are not getting it or that they are confused

WHAT HAPPENS AFTER THE PITCH?

If the network buys your project “in the room,” it literally means they said at the
end of the meeting they want it. CONGRATULATIONS! You’ve done a perfect
job!

THE NETWORK ORDERS A PILOT PRESENTATION

This means that the network has ordered a shorter version of the pilot episode.
There are various reasons why a network might do this. It could be that they really
like the idea, but aren’t one hundred percent sure if it would work for them, or it
could be they want to see how it plays with the actors, or financial reasons, etc.

THE NETWORK DOESN’T BUY IT IN THE ROOM

This is by far the more common occurrence, do not despair. Unless they say
otherwise, you are in the running. Most of the time they need to discuss it
internally before making a decision.

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It is true that you will probably not sell your show in the room. However, there are
many factors that could affect their decision, such as fitting in with their brand (the
network), what they currently have in development, how they are doing financially,
if they have a new top executive who wants to change their mandate, etc. These are
just a few of the variables that can affect the acceptance of your project. Also, take
note, you may sell it days, weeks or even months after the pitch meeting, In other
words, don’t give up on your project!

Words to live by when pitching a show: IT ONLY TAKES ONE YES!

WHAT ARE THE STANDARD VS. NEWER WAYS OF

PITCHING?

STANDARD WAY (OLD SCHOOL):

●​ Writers come to the networks and verbally pitch their shows. This would
include a general story for the pilot with examples of episodes and an overall
tone and theme of the series.

NEW WAYS (NEW SCHOOL):

●​ Today, spec pilot scripts are being submitted directly to the networks, and
sometimes even with one or two more episodes included in the bible for the
series.

●​ The use of visual aids during a pitch, such as posters, blown- up pictures,
sizzle reels and video presentations, are becoming more prevalent.

●​ Tailoring your presentation to fit your targeted network. There are so many
outlets today with very different brands, so networks are looking for
something that is specifically for them.

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WHAT IS A SIZZLE REEL?

A sizzle reel is a video presentation for the pitch of your project. Do you need one?
Possibly, but not always. For a reality pitch, the answer is yes. But, for scripted
shows, you will need to decide if the potential benefits outweigh the potential risks
in your particular case.

POTENTIAL BENEFITS:

●​ It can evoke the tone of the show, which might be an important part of your
show and something you want to emphasize.

●​ It can visually stimulate your meeting, so that the network executives are not
just sitting there listening.

●​ If your idea is hard to convey with a verbal pitch, a sizzle reel may be your
answer.

●​ Visual aids are also good when a project has many characters or a lot of
details that could get lost due to time constraints.

POTENTIAL RISKS:

●​ If the network executives don’t like it, it can hurt or ruin your presentation.
This can result from a variety of issues, such as poor production value, bad
acting, not portraying your idea very well, etc.

●​ It is a limited way of expressing your idea and may not display the true way
you wish to convey your project.

●​ When your reel is over, it can mean your chances are over. You have to try
not to shoot yourself in the foot. Remember it is important to make sure the
reel satisfies your reasons for producing it.

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HOW DO YOU MAKE A SIZZLE REEL?

If you decide a reel will help your presentation, here are some ways to put one
together.

1.​ You can produce (pay for) it with your own money.

2.​ Ask your friends to help you for free or for very little money.

3.​ You can literally grab video footage from online and edit it together.

4.​ You can make a video collage of photos and add text to the screen to tell
your story.

YOU’VE PITCHED YOUR SHOW AND IT DIDN’T SELL.

NOW WHAT?

DO NOT GIVE UP!

Here are a couple of reasons that may explain why you didn’t sell your show
beyond the obvious, like the pitch didn’t go well.

1.​ Timing is everything. This plays a huge factor. Let’s say you have a project
about a serial killer. Not just any serial killer, but one we’ve never heard,
seen or could have imagined. Now just as you are about to go out and pitch
your idea, a story breaks out about a real life killer that is eerily similar.
Even though you can show you were working on this project long before
these crimes were committed, it would never sell because buyers would
think it’s in poor taste to the families of the victims to do a show so soon.
However, if you wait several years, doing this show would not only be
totally possible, but even probable. Many shows are taken from real life, but
timing is everything. Current events can also affect your show. For example,

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 you could have a scenario in your show that includes a devastating natural
disaster. If that happens in real life, you, the studio, and the network may
decide the timing is not right to run the show/episode. This does happen and
will continue to happen because art imitates life (and vice versa).

2.​ The network says they have a project that is similar to yours in development.
This is a tough one because it feels and sounds like the network can say this
and then just go ahead and steal your idea. In my experience, they don’t.
They would have to participate in a cover-up and hope they aren’t sued. On
the other hand, it is true that people are pitching shows all the time. It would
indeed be rare that your show is so unique that no one else is pitching, or has
pitched something similar.

YOU HAVE PITCHED AND SOLD YOUR IDEA! WHAT’S

THE NEXT STEP?

This is the most important part of the scripted TV Development process.

SCRIPT DEVELOPMENT

If you were thinking it’s all about the pitch, of course the pitch is crucial otherwise
you would not get to this stage of development. But without a “great script,” there
is no TV show. Even if you, the producer, and all of your friends, think you have a
great script, “great” is a relative term. As discussed earlier, who is to say what is
great? In television, it’s the NETWORK.

If the network thinks it’s great, it is great. It’s your job, whether you are a writer,
producer, development executive, agent or manager, to champion the project until
the head of the network believes it is great. Then your script will become a show.
The development of a script is so important that it is a major factor in getting your

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show produced. The quality and focus of your script can prove to be the real
beginning, or potential end, of your project.

WHAT IS A ‘SPEC SCRIPT’?

Spec Scripts are scripts written by writers who did not get paid or commissioned to
write the script.

There are two types of spec scripts:

1.​ One that is based on an original idea
2.​ One that is based on an episode of an existing show

WHY DO WRITERS WRITE SPEC SCRIPTS?

Writers write original spec scripts to show a sample of their work. It is an

opportunity for them to express themselves creatively and it should be unique. It is
also a way for producers and executives of networks and studios to see the writer’s
“voice” (which is unique to every writer) and vision of a proposed new TV show.

Writers write a spec script of an existing TV series to show the executive

producers, the creator and showrunner of that show that they can execute an
episode in a superb way. It’s important that it stands out. So if you are planning to
write one, make sure it is a fantastic episode of that show. It should showcase your
talent by capturing the essence and voice of the show. This is the typical way for a
writer to get a job as a ‘staff writer’ on a show. It’s like a writer’s version of an
actor going on an audition.

WHAT IS ‘COVERAGE’ OF A SCRIPT OR BOOK?

Coverage is a report of the script or book that agents, managers, producers or

executives get from ‘readers’ before, or instead of, reading the script or book
themselves.

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Readers are paid to read a script or book and send in a report similar to a book
report. The reader can be an assistant or lower level executive or an outside
freelance reader.

The format includes:

●​ The logline (which is one or two lines about the project)

●​ Character breakdown
●​ Synopsis
●​ Comments
●​ A “pass” (doesn’t want) or “consider” (does want) recommendation.

For a writer or producer, getting good coverage on your script can be extremely
beneficial. It will usually get agents and/or man- agers to help you.

HOW AN IDEA BECOMES A SCRIPT

The following applies to writers working with a studio and/or network attached.
For independent development, see “Indie Developers” below.

This is the seven-step process an idea goes through to become a script:

1.​ Story Area

2.​ Outline
3.​ First Draft
4.​ Notes
5.​ Second Draft
6.​ Notes
7.​ Final Draft

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1. ‘Story Area’

As we explored in the last chapter, the idea or concept can come from the writer,
development executive, network executive, an IP, or anyone.

After a network commissions your script, the first step is to present the general
story area of the pilot episode, which should be a few paragraphs or, at most, a
page.

2. Outline

This is a very detailed document where the writer elaborates substantially about the
pilot episode. The format for a one-hour broadcast network and basic cable outline
consists of the teaser plus acts one through five, scene by scene. In the 1990s, when
I started working in this business, TV shows had four acts; one every 15 minutes. It
was modeled this way to make room for commercials. There is question if this will
change in the future.

Here’s how it works:

The teaser leads you into the first commercial break. Act one lasts about 15 to 18
minutes. Act two gets you to around the half-hour mark/commercial break. Act
three and four break up the last half hour. Act five is usually a short act at the end
that will have a big reveal. This will end the story of that episode, or it will have a
big twist that propels you on to the next episode.

Several years ago the networks decided to change this format, adjusting the start
and stop times of shows. This way, viewers didn’t even realize they were watching
the network’s next show. It worked, so they have all adapted this new five-act
structure.

Side note: When I was young viewer, I would get frustrated with the
commercial breaks. At that time, of course I didn’t know why there were
commercials, so I would change the channel hoping to watch another show.
But I found that the competing shows ran their commercials at the same

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 time! I used think, “Why don’t they run them at different times so people can
watch more than one show?” I know now they didn’t want viewers to be able
to watch other programs so they planned to have breaks at the same time.

But television is ever-changing. With new technology, including the invention of

the DVR, viewers can now watch shows whenever they want completely devoid of
commercials.

Over the years, I have found that even though the outline gives more detailed
information about the show, there is a fine line as to how much to give. This
document must include every scene you plan to have in your pilot; however you
don’t want to get bogged down in the minutia. There are some times when less is
more.

It is also important to remember that outlines are sales documents and should be
treated as such. You don’t want to un-sell the project before it even becomes a
script.

When the writer is done with the outline, she or he will submit it to the producer to
get their notes before handing it to the studio attached to the project. Then, when
everyone is happy, it is submitted to the network.

It is not uncommon, even after getting notes from the network executive(s), for
them to change their minds. Trying to please them is often futile, but you have to
keep in mind that they are your buyer. You should do your best to stay true to the
show’s vision, but be collaborative and inclusive with the studio and/or network.
Remember, it doesn’t matter where good ideas for your show come from as long as
it keeps the momentum going and improves the show.

FOR INDIE DEVELOPERS:

If you are an independent producer, or a development executive for a producer who

is working directly with a writer without a studio, it is ideal if the writer is willing
to give you an outline before writing the script. (That is, if the writer is not being

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compensated. If she or he is being compensated, it will probably be included in the
deal). This will help to avoid unnecessary rewrites of the script.

If you are the writer, I would encourage you to not skip this step. Some writers are
so excited about their script that they feel this may be an unnecessary step. But, on
the contrary, it is absolutely critical. Imagine if you wrote the entire script only to
discover that it doesn’t work and you don’t know why.

By doing this detailed outline, you will get a blueprint of your script that can be
easily revised at this stage. After the script is written, it will be much harder and
more tedious to rework. It’s like building a house without first doing the blueprints.

Once everyone is happy with the outline, the writer can move on to the third step
of the process.

3. First Draft

This is the first pass of the pilot script for the TV series.

It is first sent to the producer, if one is attached. It is the producer’s job to give the
writer feedback on how to make the script better. If there is no producer attached, it
will go directly to the studio. They will give notes to the writer before this first
draft is sent to the network.

It is not unusual for writers to rewrite their first draft several times before sending
it into the studio and/or network.

4. Notes

This is the step in the process when the network gives notes to the
writer.

I would like to point out that since the producer and/or studio already gave the
writer their notes before the first draft was handed in to the network, they would
not want to give more notes at this point because they wouldn’t want to overwhelm

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the writer. This is the time for the network to give their thoughts (notes). If indeed
the producer and/or studio have further suggestions, they would not tell the writer
until after they receive the network’s notes. They would not give the writer any
more notes during the phone call or the meeting with the network.

Once the writer receives the notes from the network executives, the writer can
proceed to the fifth step in the process.

FOR INDIE DEVELOPERS:

The producer gives notes to the writer after receiving the first draft. If the producer
finds many, or significant, structural changes/thoughts, then they might suggest the
writer do another outline. It may save time in the long run because you can see if
the changes will track before the writer makes the shifts within the draft.

5. Second Draft

Once the writer hands in this important second draft, it is the producer’s job to
make sure the writer included and executed the network’s notes. When the
producers/studio feel it is ready to share with the network, they will send it in.

It is quite possible for the writer to go through another couple of more drafts at this
stage. If all is going well, the script is improving and moving forward. Your TV
show is getting closer to being realized.

The second draft is now submitted to the network. The writer, producer and studio
all await word from the network.

6. Notes

This step is the network’s last chance to weigh in and give any other thoughts
about the script before getting the last, most important version of the script. Before
submitting the final draft to the network, the producer and the studio have one last
chance to give the writer any more thoughts about changes to the script.

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FOR INDIE DEVELOPERS:

The producer gives the writer his or her thoughts about this revised second draft.

7. Final Draft

This final draft is the one that the writer, the producer, studio and network
executives should be most proud of and excited about. It is the vision of the show
in its realized scripted form. It is the beginning.

If your script is good enough, and the timing is right, you will find out if your
project will be produced, find a life, and exist beyond the pages. This draft is the
essence of your TV show.

FOR INDIE DEVELOPERS:

This final draft is the one the writer and producer are most satisfied with and
excited to send out to the networks.

HOW DO PRODUCERS AND EXECUTIVES GIVE NOTES?

The cardinal rule is to first tell the writer what you like the most about the script!
Lay out what is working, and then you can get into all your other thoughts and
concerns. After you talk about all that the writer accomplished well, you would
then go over the script in this order:

1. Overview and general notes (What is this script about? What

can be done to make it resonate better?)

2. Tone (Is it a campy or straight forward show?)

3. Character notes/concerns (This includes the arcs, descriptions, etc.)

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4. Plot issues (What is the story? Does it move forward? Are there surprises?)

5. ‘Page notes’ and Typos (small notes you have on a page)

Side note: People often ask me the difference between good writers and
great writers. I believe good writers can write fantastic first drafts, but great
writers are able to make good use of the notes they receive. They are open to
constructive criticism and can adjust their work to make it better.

HELPFUL NOTES VS. HARMFUL NOTES

HELPFUL NOTES

The most important and useful way to give notes is being able to communicate
your thoughts without offending the writer. Some ways to be constructive are:

●​ Ask for clarification if you don’t understand what the writer is trying to
convey.

●​ Ask to understand the motivation for a character on something that she or he

is doing.

●​ Give examples on how to fix the problem that you are bringing up.
Remember you are a team.

●​ Ask, don’t tell. Discuss your thoughts.

HARMFUL NOTES

If there is something in the script that isn’t working for you, tell the writer in a
non-threatening and constructive way.

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Examples that can hurt the process:

1.​ When giving notes for a comedy script, don’t say that something is not
funny. Most of the time with comedies, how the actor says his or her lines
will make all the difference as to what is funny or not. Also, humor is
extremely subjective. Funny to one person may not be funny to another.

2.​ Being general and not specific will not help the writer. It’s important to start
with general concerns but, in order to get your point across, you will need to
follow up with very specific examples.

3.​ Never tell a writer to change something just because you say so. It is
important to remember that this is their show, their vision. Your job is to let
them know if they are not getting that vision across to readers.

4.​ Be clear in your points. The more the writer can understand the issues you
are bringing up the better. In order for the writer to be able to make
adjustments to the script, she or he has to completely appreciate the
problem(s) you are having.

Both you and the writer do not have to have the entire solution figured out at this
point. Many times, the writer will need to take some time to figure out how to
change it.

*****

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73
 Assignments

Get your hands on a script! Where to find one? You can get samples at your local
library and the Writers Guild of America’s (WGA) offices. You can ask your
friends, relatives, co-workers, and even find them online. They are out there.

Read the script and make your notes on it. Work to improve it.

If the script is really good you may find it hard to come up with notes. Don’t force
it. Sometimes it is harder not to give notes and appreciate a good script for what it
is.

Other times a script can be way off base and you don’t even know where to start.
Refer back to the section, ‘How Do Producers and Executives Give Notes,’ which
will give you the tools. It’s always best to start with the bigger, more general
thoughts and concerns, and then make your way to the specifis notes. Also always
give examples when giving notes in order to explain it better.

Write your thoughts down as if you were going to give them to the writer. Writing
down your notes will force you to be clear about what you are saying. Also, it will
come out better than if you said it directly to the writer because you will have time
to adjust it, make it more clear, etc.

After you’ve done that, see if you can give these ideas and thoughts to the writer.
Find out if you are able to convey your ideas in a way that make sense to the
writer. Did the writer agree with all or any of your notes? Did she or he argue with
you? Did she or he have good points that counter your notes? Did you feel after the
session that the script is going to get better?

If the writer does another draft of the script, you may be able to tell if your notes
made it better. But remember that sometimes, if the script doesn’t get better, it
doesn’t mean your notes weren’t good. It could mean that the writer did not
understand what was not working for you, or maybe you thought it was one issue
but it turned out to be something else. These are common reasons why many times

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a great idea does not go past the script phase of development. It is heart-breaking
because so much work and thought is put into a project and it just doesn’t get there.

It’s important to keep at it. Don’t give up!

As long as the writer is passionate and willing to work on it, the producer should as
well. Keep thinking of the old adage, “The show must go on!”

*****

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76
 ACT THREE

The Market Place

THE NETWORKS

In every field there are buyers and sellers. As the writer or producer of a TV
script/idea for a TV series, or even the director or actor attached to the project, you
are the seller. The networks are the buyers. It is where your ideas for your show
will find its home, come alive and belong. This chapter examines the importance of
understanding how the networks operate and what they are looking for.

THE BUYERS:

Here is the current list of outlets that are actively buying scripted content at the
time of this printing:

ABC, APPLE, ADULT SWIM, AMAZON, AMC, AUDIENCE, BBCA, BET,

BRAVO, CBS, CBS: ALL ACCESS, CINEMAX, COMEDY CENTRAL,

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CRACKLE, CW, DISCOVER, DISNEY, DISNEY JR., DISNEY+, E!, EL
REY, EPIX, FACEBOOK, FBC (FOX), FREEFORM, FX, FXX, HBO,
HISTORY, HULU, IFC, LIFETIME, LOGO, MTV, NATGEO, NBC,
NETFLIX, NICKELODEON, NICK JR., OWN, PARAMOUNT,
SHOWTIME, STARZ, SUNDANCE, SYFY, TBS, TNT, USA, WE TV,
YOUTUBE RED

As you can see, there are a plethora of places to sell your project.

KNOW THE AUDIENCE AND THE NETWORK

The two most important factors to learn when researching buyers are:

1.​ Who is their audience?

2.​ What is their brand?

These distinctions will inform you as to where to take your project. Knowing the
demographics of your show and the demographics the network wants to reach will
be a great help in leading you to your goal. Understanding what shows each
network currently develops and the differences between them will also guide you.

In the last 20 years, the number of U.S. television buyers, or outlets, went from 6 to
over 50! Therefore, it is important to start by creating a list for yourself so you can
keep track of all the buyers and their audiences. I call it the 'Buyers List.' Every
development executive and/or producer will have a version of this list in general,
and then they will generate one for each project.

Side note: It is not easy to get a handle on more than 50 places that are
looking for content. Oftentimes they are moving targets. Once you think you
understand what they want, they go and change their brand! Also, there are
currently two outlets that are targeting all demographics. They are Netflix
and Amazon. These companies have separate departments that cover the

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 different groups. Navigating and knowing who to pitch to has become quite
the challenge.

WHAT IS A BUYERS LIST?

The Buyers List is a list of all the networks, channels, and streaming outlets. You
should consider a buyer anyone who will pay for content to air.

You can decide what elements to include on your spreadsheet/table, but the basics
should have the following:

1.​ The name of the network, e.g., ABC, FX, Netflix, or HBO.

2.​ Contact information. The name of the development executive you would call
to discuss your project.

3.​ Brand/Mandate information. This is a brief description of who is watching

that network and their types of programming, e.g., for SYFY- more male
than female 18 to 49, genre/science-fiction.

4.​ Notes section. This section can include your thoughts about which of your
projects you would like to present, what happened when you called, when
you met, etc.

By exploring which buyers are looking for what kind of shows, and why, it will
help you plan and strategize where to sell your projects. (See “Strategy” below)

ARE THERE ANY DIFFERENCES SELLING TO A BROADCAST

NETWORK, A STREAMING PLATFORM, A PREMIUM CABLE
OR BASIC CABLE CHANNEL?

Yes, definitely. Here’s how it breaks down.

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BROADCAST NETWORKS:

ABC, CBS, FBC (FOX), NBC, CW

They transmit to everyone with a television at no cost to the viewer because the
content is paid for by advertisers. That’s why there are so many commercials.

When selling to Broadcast Networks and Basic Cable vs. Premium Cable and
Streaming platforms, it is important to consider the format of your show. Broadcast
and Basic Cable shows have ‘act breaks’ to allow for commercials and it is
standard that they end in cliffhangers. The network is hoping that viewers believe
they will miss something important if they change the channel and are persuaded to
stay tuned through the commercials.

On the other hand, Streaming services have no act breaks in their TV shows per se.
They may have an end of a scene that feels like the perfect time to go to a
commercial, but they don’t. They continue on to the next scene.

Even though all TV outlets have their own rights to self-censorship, some are more
tightly regulated than others. Broadcast Networks act in accordance to rules called,
‘Standards and Practices.’ This is a department at the network that is governed by
federal regulations and determines if a show can air. It includes looking at all
moral, ethical or legal implications that the program may infer onto the network.
This can include what they consider to be “mature language,” “sexual content,”
etc. These Standards and Practices have an obligation to protect the public since
the programming is free and easily accessible to all, especially children. With
Broadcast channels there is less of a need for viewer discretion.

With Basic Cable there are also Standards and Practices in place, however their
rules are more relaxed. The thought is that because this service is not free and you
have to pay for it, it is more likely mom and dad will regulate what the kids are
watching.

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Streaming/Internet outlets have parental controls which can be selected and
activated to control viewing. This is why there are no Standards and Practices rules
in place for these channels.

BASIC CABLE:

ADULT SWIM, AMC, BET, BBCA, COMEDY CENTRAL, DISNEY,

DISNEY JR., DISCOVERY, E!, FREEFORM, FX, FXX, HALLMARK, IFC,
LIFETIME, MTV, NATGEO, NICKELODEON, NICK JR., OWN,
PARAMOUNT, SUNDANCE, SYFY, TNT, USA, WE TV

When these Basic Cable networks started, they had to figure out how to compete
with the “Big Six" (this is what we called the broadcast networks in the 1990s
because it included UPN and the WB). Before most of them made a name for
themselves, HBO (a Premium Cable network, defined below) found its audience.
Other Basic Cable networks soon followed suit. They realized they had to be
different and find theirs as well. One by one, most of them have found their niche.
In 2017, there were about 94 million Cable TV subscribers. (Variety,
“Cord-Cutting Soared in 2017”)

When the programming is not working, or there is a shift in executives, the heads
of the network may change their brand. They hire a whole new development team,
restructure and try again. Some examples are ABCFamily became FREEFORM;
UPN and WB became the CW; and SPIKE is now PARAMOUNT.

PREMIUM CABLE/STREAMING:

APPLE, AMAZON PRIME VIDEO, CINEMAX, CBS: ALL ACCESS,

DISNEY+, EPIX, FACEBOOK, HBO, HULU, LOGO, NETFLIX,
SHOWTIME, STARZ, YOUTUBE RED, AWESOMENESS

Premium Cable/Streaming services work differently than Broadcast or Basic Cable

because the viewer is charged a subscription fee. These outlets don’t have to rely
on money from advertisers/commercials, ratings or Standards and Practices. All
they care about is selling subscriptions.

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In order for them to stand out, they produce shows that would never be allowed to
air on Broadcast or Basic Cable networks. In 2017, HBO had 54 million
subscribers in the US alone. (Statista.com “Number of HBO Domestic
Subscribers” 2017)

In the last five to eight years, the Streaming/online networks took this same model
and created their own channels. At first, everyone wasn’t sure if it was going to
work. Streaming content over the internet was very, very slow. Nowadays, it’s
almost seamless and they are able to compete. It seems every day there is a new
website creating original content. In 2017, Netflix had over 55 million subscribers
in the US alone. “For comparison, there are about 94 million pay TV subscribers in
the U.S.” (Recode.com, “Netflix Now Has Nearly 118 Million Streaming
Subscribers Globally,” 2017)

WHAT IS THE FUTURE OF THE BROADCAST AND CABLE

NETWORKS?

There are many people who believe Broadcast networks will not be around forever
and will one day be replaced. That is a real possibility. It is also what the
subscription-based networks/channels would like you to believe, as that is their
competition.

Today, there are mergers and much consolidation in the media business. Recently
Disney bought much of FOX because they wanted a bigger stake in Hulu. This is
causing major changes in the system. Most of us do not know how this will all
shake out, but my feeling is that this will change the Broadcast and Basic Cable
channels’ future.

Also, there is a current trend by some families to “cut the cord” and not pay for
cable TV. There’s the thought that, in the future, the TV and computer will become
one and the same. I believe in order for this to happen, Streaming will have to
become as visually clear as the Cable networks’ productions. Although the quality
of streaming video nowadays has vastly improved, at times it leaves much to be

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desired. Once the quality is there, I still believe there will be a need for live TV.
Even as I write this book, Hulu and Amazon Fire have added live TV! Hulu was
the first Streaming channel to include a live service. It remains to be seen how it
will all play out. Stay tuned…

DO ALL NETWORKS OWN THE CONTENT (SHOWS)

ON THEIR CHANNEL?

The answer is sometimes.

●​ If a network’s sister studio is attached to produce the series, then they own
the show.

●​ If the show is a co-production between two studios, then both studios own
the show.

●​ If the network is not attached as the studio, they do not own the show. In
essence, they are just paying to air the show for a period of time. The Studio
that produced the show, owns the show. (See “The Studios” below)

DO ALL NETWORKS PRODUCE ORIGINAL CONTENT?

The answer is no.

●​ There are some networks that have only ‘acquired content.’ That means they
only have TV shows that have previously aired on another network. These
are channels where you see re-runs of older shows. They do not have any
original shows.

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 ●​ However, more and more channels are realizing that they can make more
money by producing original content, so today there are very few networks
that only acquire TV content.

Some examples are MeTV, WGN, ion, and StartTV.

●​ Most networks that have original content also have acquired programming.

WHAT IS A LICENSE FEE?

When your show goes into production at a network, the network will pay a fee, per
episode, to the studio that is producing it for the rights to air it. This is called a
license fee. It is similar to leasing. They are renting the series for a period of time
from the studio that owns the show.

HOW DO STUDIOS FIT INTO THE PICTURE?

The studios are companies that own TV shows. Due to the fact that many TV
shows cost more money to produce than the networks are willing to pay, studios
will deficit finance, or pay, the amount of money it costs to produce it above the
network’s license fee. This is why they own the show. By owning it, they get to sell
it domestically, as well as internationally, after the original network airs the show
in first-run.

Every time the studio sells that episode, they make money. It’s like creating a
painting for one gallery to show for a period of time, for a specific price, and then
you get it back to sell over and over again to other places. You’ve done the work
one time, yet you make money on it again and again.

Today, more and more networks are working towards owning more of their shows.
As discussed earlier, the FCC made rules against this because it became very
difficult for independent companies to get their shows produced. A big difference

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today is that certain outlets, mostly streaming, are making their networks the
“go-to” place for independent producers and writers. They are offering creative
freedom that independents would not get at traditional networks and, in turn, the
outlet gets to own the show.

The downside for independent producers is they don’t get the back-end profits that
producers received yesteryear. In today’s market, a producer, like AARON
SPELLING, would have a very different deal than he had back then. At that time,
he owned all the shows he produced for the broadcast networks and received a
significant amount of the back-end profits. That scenario doesn’t happen anymore.

On YouTube, Indie producers can create their own YouTube channel, but they are
getting money the more traditional way - through advertisers.

It’s possible that one day soon with the success of the streaming platforms that
investors will finance independent producers for online content much more than
they do today because of the huge profits that can be made with owning TV shows.

“LET’S MAKE A DEAL”

When you hear, “Let’s make a deal,” from a network and/or studio, you know
you’ve made it! You have beaten the odds and are on your way. This means they
are moving forward with your project and/or want to work with you. However, it
doesn’t guarantee that your show will get made, or even be on the air, but getting a
deal is the first step in the right direction! Writers and producers who have at least
one, if not more, successful show on the air will most likely get offered a deal.

If you do get your show on the air, it will have to be a hit and happen during the
time of your first deal for you to get a second deal. This may sound harsh, but that
is the reality. A network, and/or studio, is banking on your success otherwise, it
would not be a wise investment for them.

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TYPES OF DEALS
There are four types of deals for writers and/or producers:

1.​ Overall Deal

2.​ First-Look Deal
3.​ Blind Script Deal
4.​ If/Come Deal

OVERALL DEAL

This is a deal that a network or studio makes with a writer or non-writing producer
so that the projects are exclusive to that network or studio. This means, whether
you are a writer or a non-writing producer, every project you develop while in this
deal belongs to this network or studio.

The upside of this type of deal is that you have a “home.” The network or studio
will pay all your overhead costs, including salaries for your employees (i.e.,
development executives and assistants) and is eager to get your show produced.

The downside is if the network decides to pass (decline) on your project for any
reason, perhaps because your project is not right for their brand, you would not be
able to shop it around to other networks.

However, you would be able to bring your project to one of that network’s sister
networks. For example, if your deal is with FBC (FOX), and they pass, you can
bring it to one of their sister networks, like FX, but not to others, like CBS. If there
is not a good fit at any of their sister networks, you would not be able to work on
the project during the time you are in this deal.

Now let’s say your deal is with a studio and you want to sell to a network that said
they will buy your show only if their sister studio can co-produce. Your studio
would have to make a deal with the sister network or you wouldn’t be able to sell
to that network.

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It should be noted that if the studio you are with is attached to a network, e.g.,
ABC Studios is attached to ABC, generally you would not have to be exclusive to
that network. You could sell your project to any network as long as a deal can be
made by your studio with the other network. Keep in mind there are a few studios
that only sell to the network(s) they are attached to. An example is CBS
Productions.

The downside to having an overall deal with a studio is that you would be
developing and producing shows exclusively for them. If they pass on one of your
projects, you cannot shop it elsewhere.

An example of a writer/producer with studio overall deal is SHONDA RHIMES.

For 12 years, she was in an overall deal with ABC Studios. All of her shows
were/are on ABC, e.g., Grey’s Anatomy, How to Get Away with Murder, and
Scandal. They all fit ABC’s brand. When she decided she wanted to branch out,
she had to leave ABC. She subsequently made another overall deal with
NETFLIX, where they brand to all audiences.

FIRST-LOOK DEAL

This is a deal that a network or studio makes with a writer or non-writing producer
so they can get a “first look” at their projects. However, they are not exclusive to
them.

This type of deal, like an Overall Deal, usually covers expenses for the writer or
non-writing producer, i.e., a salary, an assistant, an office, etc.

The upside of a first-look deal with a network is that you have the freedom to sell
your project to any other network after they pass on it. Networks pass on shows for
a variety of reasons. One is that the show isn’t working for them creatively so, even
if they pass on it, and it works on another network, they don’t take it too hard.

If you have a first-look deal with a studio, you also have the freedom to sell your
project to another studio after they pass on it. However, most studios will support

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producers and their projects and not pass on them. If they did, they would be taking
a big risk that another studio would snatch it up. What if it becomes a huge hit? It
would be a terrible financial loss for them.

An example of this is what happened with the first CSI show. ABC Studios passed
on the project, and ATLANTIS/ALLIANCE picked it up. This show has made
billions of dollars for ATLANTIS/ALLIANCE, and ABC Studios made a HUGE
mistake passing on it.

BLIND SCRIPT DEAL

This is a deal where a network or a studio hires a writer to write a TBD (to be
determined) script. This type of deal is not one that a non-writing producer would
ever get. This is solely for a writer. This deal happens when a network or a studio
wants to be in business with a particular writer before that writer has pitched any
ideas to them. This is for a writer who has made at least one successful TV show,
movie, short, etc. A writer who has not had something produced would not be
offered this type of deal.

IF/COME DEAL

This is a deal for a writer where they do not get paid upfront. The studio makes this
deal because they would like to develop a project with a writer and take it out to
the networks. “If” it sells, then the money “comes” and they get paid.

STRATEGIES FOR SELLING A TV SHOW

1. HOW TO GET STARTED

When I began working in television development in the 1990s (discussed in the

“Teaser” of this book), the usual path writers/creators would take in order to sell
their TV show or series was to work their way up the ranks in television

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production. Almost every writer had to start out on a TV show as an assistant and
work their way up to becoming an executive producer. At that point, the networks
might be open to their ideas for development.

Writers would then pitch their ideas to a studio or production company

development executive. If they liked the idea, they would work together on the
pitch. Then, they would bring the fleshed out pitch to the networks and hope for a
bidding war from the Big Six.

This method still exists today. However, in the last few years there have been many
examples of young writers who were able to by- pass this system. Today, a novice
writer/creator can make a show and not have to sell it to a network! ANYONE
with a phone, laptop, the internet and a dream can make a TV show and, as
discussed, there are platforms for viewers to watch it, i.e., YouTube, and even new
websites like SeedandSpark.com. This is also a way for young writers and
producers to get noticed by networks and possibly SELL their show and ideas to
them. It’s not something that happens often, but today this is possible. This was
impossible just 10 years ago.

Similarly, if you’re looking to get noticed as a writer, and possibly work on a show,
there are online contests, websites and consultants that can help get your script
seen by producers and studio executives.

2. "WHO’S IN THE PACKAGE?”

You may hear this question from network executives when pitching your project. If
you are a non-writing producer or development executive at a studio describing
your project to a network, they will want to know the auspices, or attachments,
involved. This includes all the people and organizations affiliated in any way to the
project. For the networks, it really is all about the whole package. They believe that
knowing the team behind the project will give them a better idea of the project’s
potential.

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Attaching key people to your project can definitely improve your chances of
selling it. In fact, it is very desirable and sometimes essential. For young producers
especially, it’s better to have someone with known credits attached to your project.
“Key” is the important word here because there are some people you can attach
that you may think any network would love to work with only to find they are not
loved everywhere for every project. By attaching these individuals, you may
inadvertently hurt your project. For this reason, it is important to learn everything
you can about the network and/or studio that you want for your project.

There are some well-known individuals who are so beloved everywhere (at all
networks) that they can get almost ANY project ‘green-lit’. This is usually because
they have had a lifetime, or at least a good amount, of successful movies and/or TV
shows. It’s important to note that these people are nearly impossible to attach. They
are few and far between. But, if you are lucky enough to have a personal
connection with them, or be discovered from your work, that would be wonderful.
This was the case with LENA DUNHAM who was discovered by JUDD
APATOW. They went on to make HBO’s Girls.

This type of package should not be confused with another type of package called
an ‘Agency Package.’ Here are the differences:

AGENCY PACKAGE

The talent agencies, like Creative Artists Agency (CAA), William Morris
Endeavor (WME) and United Talent Agency (UTA), get a fee on shows when they
represent key people or companies attached to a project. Most of the time, they will
split these fees with other agencies who represent other key people. Key people can
be the creator/writer, non-writing producer, director, and/or star.

Before going to print, the WGA was in the process of determining if the practice of
collecting package fees by agencies represents a conflict of interest to their clients
(writers, producers, talent). The reason they are looking into this now is because,
over the years, agencies have started to act more like production companies, with a
few actually having production companies within their organization.

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Since these agencies are getting fees from the budgets of shows, it has become
more financially advantageous than getting commissions from individual clients.
Therefore, it is not surprising that they have been spending more time and effort
into putting these packages together.

In 2016-2017, the WGA found that about 90 percent of the 300 shows produced
that year were packaged! The Guild is now talking about revising their 42-year old
agreement, "Artists’ Manager Basic Agreement” (AMBA) with the Association of
Talent Agents because of this huge conflict of interest on the part of agencies. They
say the current agreement is no longer serving their clients.

Under the current deal, agencies are called, “Agency as Employer,” and the Guild
feels that certain agencies, i.e., WME and CAA, are becoming active in the
production, financing and distribution of shows. The agencies say they can do this
because they have “related production entities,” e.g., Endeavor Content, IMG
Productions, Media Res and Bloom. CAA has Tornado Productions and Platform
One.

The Guild believes that the talent agents have a fiduciary obligation to put the
interests of their clients ahead of their own. In April 2018, the Writers Guild sent a
12-month notice to the Association of Talent Agencies stating that it must
terminate the AMBA deal. (Variety, “Writers Guild Seeks to Renegotiate
Agreement with Agents,” 2018)

If this deal is terminated, it would be a game-changer for independent producers

and writers. For non-writing producers who are not represented, how can they
compete? For the writers, it would be like having their employer also be their
representative!

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ATTACHMENTS

The best and easiest way to get attachments is if you know, or are related to,
someone you would like to attach to your project. Of course, this is not the case for
most people.

The next best way is to network and reach out. In today’s world, we are all much
more accessible than we ever were. Almost everyone in the business has some sort
of social media platform, including writers and executive producers. Reach out. If
you get no response you are no worse off than if you hadn’t tried.

As mentioned earlier, there are also websites connecting writers to producers (e.g.,
Inktip.com, Blcklst.com, VirtualPitchFest.com), as well as crowd-funding/funding
websites (e.g., Slated.com, SeedandSpark.com).

The key is to NEVER GIVE UP!

3. DETERMINE IF YOU NEED A STUDIO

If you have a project that is really right for a particular network, going to their
sister studio first and trying to get them on board would probably help the project.

However, today some writers and non-writing producers are able to go directly to
the networks without having the support of a studio and/or production company.
There are even certain networks that would prefer this because they then can “lay
off” (give) the project to their own studio, which is financially beneficial for them.

If you do not fall into that category, having the support of a studio can be very
beneficial for your project. The way to get a studio attached is:

a.​ Have your agent or manager help set up meetings.

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 b.​ If you are a producer without representation but have the rights to an IP, you
can cold call studios to see if they will meet with you because you have this
property.
c.​ If you have a showrunner attached, his/her representative will have definite
opinions about attaching a studio.

Having a studio attached before you go out with your project is not always the best
choice, so it’s important to figure out if it will help yours move forward.

4. DETERMINE THE BEST FIT FOR YOUR SHOW

As discussed earlier, a network’s brand is specific to their demographics. Do they

cater to children, teens, the 18 to 49 year old demographics or the Baby Boomer
generation? Do they produce science fiction dramas or historical series? Do they
only produce reality series? Knowing the kind of programming that is working for
each network will help you figure out where to go.

Some producers, studios and development executives feel you should also go to the
networks that are not a seemingly good fit for your show or in line with their
brand. I am one of those people because you never know. Sometimes networks are
having conversations about wanting shows that are against their brand and it is
possible that they are looking for exactly what you are selling. Give your project
every chance. Even if you don’t get the deal, you’ve gotten another chance to
practice your pitch!

5. ARE YOU SELLING A SPEC SCRIPT?

Something that has just starting happening over the last five to ten years is for
writers to write a spec script, and/or episodes, and/or bible of the series and submit
it directly to the networks.

Writing a spec is a much more risky strategy than going out with a pitch. It requires
the writer to do a lot of writing without the guarantee of getting paid. At one point,
the market became so saturated with specs that the networks got less interested and
excited about them. But the fact is that the writer/creator has total creative freedom

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with writing a spec. If the network read and liked your script, a meeting would be
set up with the network to discuss the full series vision. Many shows have been
sold this way, for example, House of Cards, Desperate Housewives, Breaking Bad.

When you are ready to send it out, there are two basic strategies.

1.​ Send the spec script to the network. If they like it, you can then meet with
them to pitch the series.

2.​ Meet with the network first, and then leave the pilot script behind.

In my experience, I find the first strategy is better because if the network ends up
not liking your script, you’ve wasted your time and theirs. It is best to come in after
they like it and are already interested.

6. SHOULD YOU CHANGE ELEMENTS OF YOUR SHOW TO SELL TO A

SPECIFIC NETWORK?

No. As discussed in previous chapters, when you are developing an idea and/or
script, it is important to determine what the show is organically (its essence), and
then figure out where it belongs.

Yes. You need to make sure your show is sellable (unless you are planning to
finance it yourself).

The ideal scenario for pitching is to have many channels and outlets where you can
sell your show. The more you have, the better your chances to sell it. Sounds
logical, right?

The irony is that, even though there are over 50 places actively buying content
today, writers usually find only about five places to pitch. All the networks have a
very specific brand or niche.

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The reality is that only one or two of them will be your show’s “perfect” place.

7. TIMING IS EVERYTHING

Everything in life is about timing, and this is especially true when it comes to TV
Development.

You may have heard the term “cult hit.” This is when an excellent show does not
find a big audience, but has found a niche and has developed its own fan base. This
is an example of how timing is important in television. These cult hits have
become hits because they got popular after they were released (usually with a
specific demographic). If they were successful when they were released, then they
would be true hits. They are successful all because of timing. It is said that these
cult hit shows are ahead of their time.

Another example of good or bad timing: A show that works in 2001 may not be
right for 2018, and vice versa. So if your show doesn’t sell today, hold onto it. In
time, the network and the world may be ready for it.

Similarly, as discussed earlier, understanding when to take your project out, and to
which network, can make or break your success.

When taking out a PITCH:

●​ Make sure your pitch is ready. (See Act 2 “The Pitch”)

●​ Figure out which network to go to first, second, and so on. It is essential

because you will learn how to improve your pitch each time. You do this by
setting up your first pitch meeting where you think you have the least likely
chance of selling your project. After that go to the network where you think
is your best chance, the place that feels like the best fit.

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 ●​ Have you gotten the attachments you wanted? The peopleyou have attached
may have agents that will call for you as well.

●​ Visual Aids. Did you decide if your project needs them, and are they done?

8. DETERMINE IF YOUR PROJECT IS READY

How do you know when to take your project out to the market?

The answer is when it’s ready.

Remember, there are no guarantees on selling it. You can only try. No one can tell
you that you will sell your show for sure. If they do, they are selling you snake oil.
The truth is, the world is changing, this business is changing and, if you keep
working, doing what you love, using the tools in this book, you will have the best
chances for success.

WHAT IS A TRANSMEDIA CAMPAIGN?

This is a strategy that consists of having a single narrative (story) that continues on
through different mediums, e.g., web + twitter + TV.

At one end of the spectrum is a strict adaptation; that is translating from one
medium into another. This would be a book that becomes a film, or a comic book
that becomes a video game (e.g., film + comic book + video game).

At the other end of the spectrum is pure transmedia; where one medium “connects”
with another. This happens when a book ends at the moment the film begins, or a
comic book shows the origin of a hero that is featured in a video game.

Here are some examples of Transmedia projects:

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 ●​ Star Wars – Perhaps the most extensive world that is built across platforms.
●​ Star Trek
●​ The Matrix
●​ The Blair Witch Project - Their online marketing campaign marks the first
use of web storytelling.
●​ Avatar
●​ Lost

Much of Disney’s programming for the youth market incorporates a transmedia

campaign.

Many comic books have been adapted into video games, feature films, TV shows
and animated shorts, e.g., Superman and Spider-Man. This includes prequels,
origin stories, sequels and spin-offs.

Having this strategy prior to selling your show can prove to be helpful. Oftentimes,
when you achieve success in one medium, it seeds success in others.

WHAT IS A ‘COMPETITIVE DEVELOPMENT REPORT’?

This is a list of projects the networks are actively buying for development. It’s a
good idea to start putting together this list because it will give you a sense of what
each network is actually buying.

You can do this by reading the entertainment trade publications, e.g., Hollywood
Reporter, Variety, and Deadline. When a network buys a pitch, there is usually an
article about the people involved and the premise.

Each year, this is one of the jobs that a younger, lower-level executive would be
responsible for putting together.

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The Report consists of:

●​ The buyers
●​ Names of the projects they have in development
●​ Auspices (the people and affiliations attached)
●​ Logline or summary of the idea

Agents, managers, executives and producers feel it is imperative to have this list
because, when selling shows, knowing what the networks have bought will inform
them for both active and future development.

Side note: Each year, I find it interesting to try and guess which shows in the
competitive development report will get picked up and have a pilot shot
based solely on the logline and auspices. (This is only possible with
broadcast networks as the cable net- works don’t usually just shoot pilots.) I
read the scripts and watch the shot pilots. Then, I like to guess which pilots
will be picked up to series.

INDIE TV

Truly independent television (Indie TV) is when you get independent financing for
a pilot and/or a season of a show to produce and sell it to the broadcasters. While
independent financing does occur in the movie industry, in TV this is not the norm.

A good example in the feature (movie) business is Blumhouse Productions. The

model is to have a really low-budget idea for a movie with no big stars attached.
The goal is to make A LOT more money that it costs to produce. Great model!
Sometimes a big star/talent will be a part of these low-budget movies, oftentimes
taking a reduced acting rate while participating on the back-end. That means after
the film is released, if it is successful, they get a piece of the profits.

For TV it is different. Indie TV is far more expensive to produce than Indie

movies. Currently, low-budget shows have not yet performed well or competed

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with the very expensive shows on TV. Typical budgets for shows are upwards of
$4,000,000 an episode!

Also, the networks rarely buy fully-produced seasons of TV shows. In my career, I

only know of a handful of successful shows that were independently produced and
sold. A couple of examples are, Always Sunny in Philadelphia on Comedy Central
and High Maintenance on HBO. One reason this is rare could be because the
networks like to put their “stamp" on the show, meaning they like to have a say
about the development of the show. By giving them a completed series, it takes
them out of the creative process.

As previously stated, one way to make an Indie TV show on a very low budget
that’s available to everyone, is to air it on YouTube. This is where viewers can
watch episodes of shows that were produced with money from investors and/or
advertisers of that channel. These shows have yet to become mainstream and don’t
have the success model of the movie business, but that doesn’t mean it won’t
happen. It just hasn’t happened yet.

*****

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 Assignments
Put together a Competitive Development Report by tracking projects in the trade
publications. Then, take a guess as to which projects from the Report will become
a pilot and/or series. (Of course, only for the ones that don’t have series
commitments.)

In six months or so, you can find out if you were correct. It’s a good way to see if
your instincts are right about which ideas will make a good series or not.

Another version of this assignment depends on whether or not you can get your
hands on the scripts. If you are working as an assistant for someone in an agency,
network or studio, or you know someone who is, perhaps you can get a copy of the
scripts. Then you can read them and make an educated guess as to which ones will
become great shows.

Yet another version of this assignment is being able to see the produced pilots
before they air and then making your choices. If you are working as an assistant in
the business, this is not difficult to get. If you don’t, maybe you know someone
who is. Ask around, sometimes they are even online.

These assignments are good exercises as they will help you when you are listening
to, and pitching, ideas. You will know what works and doesn’t work. The more
knowledge you have of the current TV landscape, the more persuasive you can be
when you are selling your show.

It is true that sometimes a great show does not become a hit, but some of them do
become cult classics. This is due to timing as most are/were ahead of their time.

*****

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 ACT FOUR

Q & A with Industry Professionals

●​Network Executives
●​Studio Executives
●​Production Company Executives
●​Managers
●​Agents

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INTERVIEW WITH TED GOLD

Executive Vice President, Paramount Network (fka Spike)

Executive Producer, Parkes/MacDonald
Senior Vice President, FOX Network
Vice President, Spelling Entertainment

I met TED GOLD when we were both working at Spelling Entertainment. He is an

accomplished, thoughtful, smart professional with a great sense of humor. He has
always been very passionate about developing TV shows and I learned a lot from
him. Ted went on to become a buyer at two different networks, and here’s what he
had to say about development. We met at the Viacom Hollywood offices in January,
2018.

Stephanie (SV): How did you get your start in TV Development?

Ted (TG): I sent out 70 resumes blind, around town. Eventually I got a call from
STEPHEN J. CANNELL Productions. They were one of the last independent
television suppliers and I got a job there as a messenger. Then, I was the
receptionist and I soon learned about this area called, “Development.” I
volunteered to read scripts for them for free and give my comments. Then
eventually I got a job as an assistant in the development department.

SV: Why did you choose development as opposed to a different job within the
industry?

TG: I was an English major and I knew I wanted to work with writers. I realized
quickly that this was the creative side of the business to making stories, making

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projects happen, and knew this is where I wanted to be. Thought it would suit my
tastes, my skills.

SV: For people wanting to pursue a career in TV Development, what would you
suggest they do?

TG: Read and watch as much material as you can! I would recommend writing
coverage and develop your point of view on things. The most important thing is to
understand what you like and why you like it. It’s a lifetime endeavor. It changes
over your life. But the more that you can analyze and express yourself, the better
you get at it and, at the end of the day, that’s what someone is going to hire you for.
They are going to hire you for your tastes and your knowledge of writers and
material.

SV: Regarding development, what would you do if you heard two very similar
ideas, but the one you liked better came from a lesser known entity?

TG: That’s a very good question. First of all, if there’s a lot of overlap between the
projects in terms of characters, I’d probably excuse myself from hearing one of
them and let them know up front that I just heard this from another person. But
forgetting the legality of it, I would go with the project I liked the best if I can. I
would probably try to package it up. I mean, so much is about who is going to
execute 50 episodes. So the lesser one might start off good, but it’s harder to get on
the air because nobody knows who that entity is. But I would probably lean
towards the lesser one and see how I could bolster it and make it a sexier, stronger
project by adding elements. Maybe you can combine the two.

SV: What is the most memorable pitch you’ve heard?

TG: (laughing) There are too many for me to answer, but one that comes to the top
of my mind is when I was at Spelling (Entertainment), with you actually. It was a
pitch that I developed which was the precursor pitch to Lost, which was developed
with JEFFREY LIEBER, (creator/EP). It was a really well-thought-out, deep pitch
because, at the time, it was almost considered a stupid idea to develop a show
about people stuck on an island. Like, how could that last? And Jeffrey had a lot of

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specific ideas on how to keep that show going. That’s one that comes to mind. I’ve
heard, I think, over 1,000 pitches probably in my career. (laughing) I’ve got some
funny ones, people falling asleep, people screaming, some pretty crazy ones.
SV: What is the most challenging aspect to developing a script?

TG: It’s always different, but what I would have to say is figuring out what the
story is. What is the core story and character point of view from which you are
going to tell the story? I would always come back to that. What is the story or
stories that you want to tell with your show? We can talk about the process.
Sometimes it’s working with writers and figuring out the best way to bring out the
best in them. How do they respond to notes? Not just critique, but what’s the best
way to get them inspired and bring out their vision.

SV: What are your thoughts on spec scripts?

TG: Love ‘em. I love spec scripts. I always try to read a spec script with an open
mind. Still to this day I know how much work has gone into it and I think a good
show can come from anywhere. Again, if it’s a spec script without any track
record, you have a giant hurdle of how do you get it on, and that would be a lot of
producing.

SV: Which project that you produced are you most proud of?

TG: Well, I haven’t produced a lot of projects. but I would say if I can count the
one that is about to air right now, it’s Waco.

SV: What about projects you developed?

TG: I really liked this project that was ahead of it’s time that I developed at
Spelling (Entertainment) called, Kingpin, which you probably remember. That was
always one of my favorites. At FOX, it was Prison Break. And people don’t think
it was a sexy show, but Bones was a very successful series.

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SV: What is your favorite part of the TV Development process?

TG: I like research a lot. I like reading articles and books on a certain character or
certain world. I can sometimes go down a rabbit hole doing research. I really enjoy
doing that. I love figuring out who the characters are and breaking the story. That’s
probably number one. When it goes right, it really comes together and selling a
project is fun. That’s a pretty good feeling. Validation. All your hard-earned
efforts… somebody thinks there is some merit.

SV: What do you feel is the biggest misconception about TV Development?

TG: The prolonged nature of it. That a project doesn’t stop with development. That
a project is not just about developing a script, it’s about developing a team of
people that can keep it going and keep developing it.

SV: What advice do you have for a young writers/creator who is looking to pitch a
TV show?

TG: My advice would be to not spend too much time on a pitch when you are
starting out. My advice would be to write your script. The reason is that there are
too many people out there selling shows. You’re competing against a lot of big
name people.

SV: What do you feel will be different about the process of TV Development,
specifically in five years or ten years?

TG: Things are much more package-dependent now. If you want to compete, there
is so much out there. How do you get people to notice? One of the ways is having
great people on your project, working on your project and in your project. That
seems like a trend that is going to continue. Also, I don’t know if this will happen
in five years, but this format of half-hour vs. hour vs. two-hour movies… it all goes
out the window. Maybe we can make a 43-minute project? Maybe we can make a
12-minute project? I think the formats of the projects should be more driven by the
projects themselves vs. trying to fit a round peg into a square hole. I think some of
that is changing now.

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SV: What about Indie Television?

TG: The bottom line is, if you’re talking about traditional scripted television with
actors, it’s a lot of money to figure out how to finance it. I do think there will be
people who will figure it out. It seems that to me with the old model, with
advertising content, seems to be diminished. Ratings are all down. Nobody knows
how they are going to make money. Still, the advertisers need to find ways to get
their product out there. So where are they going to go? Maybe there will be people
who will pull in a few advertisers to sponsor their own projects independently.

SV: In today’s market, what is the measure of a successful show?

TG: Depends who you are, depends what your job is (laughing).

SV: As a network executive?

TG: I am mostly concerned of how my project is viewed creatively, as a project of

quality and as a project that would fit the brand, both internally and externally. So I
would say reviews. Internally if a lot of people are really excited about our project
and then, if that gets reaffirmed on the outside that people like our projects.

At the end of the day, even though I can’t control it, if you don’t get ratings, you’re
out. So ratings are super important. You’re still judged by the thing that is much
harder to measure - ratings. But ratings themselves are changing. It used to be live
plus same day, now it’s live plus three.

Side note: ‘Live plus three’ refers to the ratings during a live show plus the
next three airings of the show.

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SV: Do you think everyone is going to be streaming, and that traditional broadcast
and cable TV will go away in some way?

TG: Yes, I think it will go away in some way. But I’ve been saying that for ten
years. So it’s slow. It’s always slower than I think it’s going to be. I mean, who
wants to watch a program live anymore? Who wants to rush home at 8 o’clock on a
Thursday night to watch something? Very few people, unless it’s news or sports.
People don’t really care. So it’s all going to be on-demand and streaming, if you
ask me. I don’t know if all the channels will disappear or the linear channels will
disappear. It might become some kind of hybrid, which is kind of what you’re
seeing now where if you miss something that is live, you can find it somewhere
streaming, although it takes forever to figure out where. And then what is TV?
Most kids don’t even watch a lot of TV, which is a whole bigger question.

*****

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INTERVIEW WITH ANDREW PLOTKIN

Senior Vice President, Drama Development, Sony

Head of Development, New Regency
Senior Vice President, SYFY
Vice President, Drama Development, Warner Brothers

ANDREW PLOTKIN was the Warner Brothers development executive I worked

with when I worked for JERRY BRUCKHEIMER. He is professional, charismatic
and fun. When his boss at Warner Brothers left to start his own production
company, he asked Andrew to join him, which he did. He has worked on all sides of
the TV Development business and still loves it. He’s currently a development
executive at Sony. We met on the Sony lot in February, 2018.

Stephanie (SV): How did you get your start in the TV business?

Andrew Plotkin (AP): My first job was working at a studio. Do you remember
Rysher Entertainment?

SV: I do.

AP: I was an intern there for maybe five months or so and a desk opened up, and I
became an assistant to the head of the television department. I did that for about a
year. I got promoted off that desk and was off and running.

SV: Is that where you learned about TV Development?

AP: Yes, that’s exactly how. I realized this is a thing, a business, a career.

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SV: Why did you choose to do TV Development as opposed to doing something else
in the business?

AP: Originally I thought I was going to be on the movie side of the business, but I
soon learned about the pace of TV and realized I don’t have the patience to work
on the movie side. I saw that, with TV, you have to constantly feed the beast.

SV: So were you promoted at Rysher to an executive pretty fast and not an assistant
very long?

AP: Yeah, Rysher had a lot of shows. It was good timing. I got lucky.

SV: You’ve been a producer, a writer, a studio and a network executive. What was
your favorite role and why?

AP: If I had to choose one as a favorite I would choose producer because you are
constantly learning. No one project is ever the same. They all bring their own sets
of obstacles and you have to learn how to overcome them. It was just the most kind
of rapid growth as a producer. I mean, I do the same thing now but, as a producer,
you are more hands-on. You go from the script to the budget to marketing. You
touch every part of the process in a more meaningful way. A studio executive is
less detailed-oriented and has more of an overview, and the volume is just SO
much more in this job.

SV: Does your role at SONY today differ from when you were a studio executive at
Warner Bros. 15 years ago?

AP: In terms of the job, not so much. The job’s the job. It’s more or less the same.
What’s different is the business, like at Warner's it was relatively easy to sell a
show. They (the networks) were like, “Yeah, we’ll buy it.” They (the networks)
would take ‘flyers’ on things, whereas now good is not good enough. It’s got to be
rock solid. The package is very important. Today it’s more about how we put it
together, the sales and packaging.

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SV: You pursued becoming a writer at one point in your career. Why did you decide
not to pursue that anymore?

AP: It was too lonely. When I was in my pajamas at 3:30 in the afternoon and I
hadn’t left the house, I realized it wasn’t for me. I needed more immediate
feedback. Like I was saying before, I get so impatient. I love being really, really
busy bouncing from one task to the other. As a writer, the pace is like way
different, way slower. I love writing, but I couldn’t do it every day. It has to be the
only thing in the world you can possibly see yourself doing.

SV: What can a writer or producer just starting out do to get their projects in front
of you?

AP: As a writer, it can’t be unsolicited for legal reasons. It has to come through an
agent or lawyer. As a producer, be an aggressive producer. Pick up the phone and
say, “I have a great idea.” Be persistent and keep at it. Tell the assistants.

SV: What kinds of shows do you like to develop?

AP: For me, it’s all about character and emotion. Whatever the show is, it all starts
with character. Whether it's a pure soap opera, or a genre high-concept Game of
Thrones kind of thing, it doesn’t matter. I love all of it as long as the character stuff
is very, very powerful. I think that’s the only reason why TV works.

SV: What is the most memorable pitch you’ve heard?

AP: I think the most memorable pitch to this day was at Warner’s and it was with
SHAUN CASSIDY. He had gotten the rights and access to the ELTON JOHN
library of songs so he created a show using characters from his songs. He created
this whole mythology using some of his really well-known songs. We were
pitching it to GAIL BERMAN at FOX, and he’s pitching it just regular, and then
he gets up and it’s SHAUN CASSIDY, and he can sing! So he starts singing,
performing in the room and we’re just like, “What’s going on here? This is
amazing.” So that was pretty cool.

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SV: Did they buy it?

AP: They did NOT buy it. I think it was ahead of its time. They didn’t know what
to do with it.

SV: So it never got made? You didn’t sell it?

AP: No.

SV: Would you pursue it today?

AP: Yeah, in a heartbeat.

SV: What is the best script you developed that didn’t get made, and what
happened?

AP: (laughing) Oh, my God, there’s like a million of them. Okay, so one of my
favorites, I think LIONSGATE is doing it right now actually. It’s a book series
called, “The Kingkiller Chronicle.” It’s a grounded, fantasy, period-piece, like
Game of Thrones, and it’s an amazing story. It’s basically the Batman story. It’s
about this kid who sees his parents and his whole extended family get murdered by
these essentially immortal, supernatural, bad guys. So he de- votes his life to train
himself to ultimately confront these really bad people, kill them and get revenge.
But underneath it all, it had this incredible musical element. It’s one of the best
book series I’ve ever read in my whole life. I mean the script was amazing. We
sold it to NBC and it should have been a cable show. They kind of tried to water it
down, give it a franchise essentially, and it just didn’t work. That was
disappointing.

SV: Now, you said LIONSGATE is doing it.

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AP: Yeah, I think when the rights lapsed they picked it up. I think they are
double-developing it as a movie and a series.

SV: Probably for cable?

AP: For sure. It has to be on cable.

SV: What would you say is the most challenging aspect to developing a script?

AP: I think the most challenging aspect is making it emotionally resonate. The
challenge is that the writer may be hearing it and seeing it one way that can feel
incredibly emotional, but if it’s not translating to the page you’re at a major
impasse. So how do you get from inside somebody’s head to the page? It’s very
hard. That’s tough.

SV: What is your favorite part of the TV Development process?

AP: My favorite part is getting that first draft and seeing if there’s anything there.
Is there a there, there, and then honing it from there. That’s the best.

SV: What’s the most challenging part of your job?

AP: For me, the challenging part of my job is pitching it because you only have
about twenty minutes to communicate a lot of information and to get the people
(the network) to feel what it is you’re talking about. They hear like fifty pitches a
day, or whatever it is, so they are way ahead of you. They know what the show is
the second you sit down. So how do you get them (the network) to care about it?
And that’s tough.

SV: What is your most successful project you are proud of?

AP: I was very proud of this show called, Being Human, when I was at the SYFY
network because, at the time, the network was saying they wanted to elevate their
programming and do something not cheesy. It ended up being satisfying on a few
levels. One, it was a format that we got from the UK and we were having a hard

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time finding a writer that could do the character stuff and the genre stuff. It was
about a ghost and a werewolf and a vampire who live together. But it was a real
drama, so I decided to put these two writers together. It turns out they were
married, but they were not a writing team at that time. Together they made the
perfect, in theory, writer [for this project] and it worked out. They went on to create
a very grounded, emotional and intense monster movie, basically. It was really
cool.

SV: What advice do you have for writers, creators, and producers looking to sell a
show?

AP: I would say the first two questions to ask yourselves are, “Why is whatever it
is you’re doing relevant now?” and “Why should anyone care about it?” You gotta
remember, there are so many choices. That’s what I ask myself, “Why now?” and
“Why do I care about whatever the series is saying?”

SV: Being that SONY is an independent studio, meaning they are not aligned with
any network, what are your thoughts about the future of Indie studios?

AP: We are lucky because we can truly work with pretty much anybody out there.
We are very entrepreneurial. I think that to remain an Indie you have to be more
and more entrepreneurial and figure out creative ways to get stuff done. We’re
thinking a lot right now, for example, about starting to sell a show internationally
and then maybe bringing it back here. So, I think that’s the key. You have to
constantly change up the game and figure out ways that you kind of slip through
the cracks and find a niche. Everything is changing so fast you have to be ahead of
those changes.

SV: Do you think one day they (indie studios) will go away and networks will only
work with their in-house studio?

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AP: No, I think that that is cyclical. I think they (the networks) go through phases
of, “We’re only going in-house," and then they realize that it’s not the best way to
get the best creative material.

SV: Is there an Indie TV model similar to Indie movies?

AP: Not as successful because that movie model is driven by the financing. When
you’re selling here, people don’t need your money. It’s nice to presell something
and go to NBC and say you can have this at a fraction of the license fee. Maybe
that works, but what you’re giving up is the emotional investment of that show. If
they love a show, they are going to keep it on the air and make it work. If it’s more
of a transactional kind of thing, they will feel they can cancel in a heartbeat and it
doesn’t matter.

SV: What is the measure of a successful show?

AP: A smaller, diehard, loyal fan base. That’s how these shows on Netflix and
cable come back. If they ever let us know what those numbers are, what the ratings
are… However, they are probably not that big, but they are super-consistent and
satisfying a key demographic.

SV: That’s really for cable or streaming. What about broadcast?

AP: I guess for either. The true measure is being able to cut through all the clutter.

*****

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INTERVIEW WITH CHRISTINA DAVIS

Partner, Maniac Productions

SVP, Drama Development, CBS

I met CHRISTINA DAVIS when she was an assistant at CBS and I was an assistant
at Spelling Entertainment. Over the years, both of us have worked on many of the
same TV shows. Christina rose through the ranks at CBS and, in recent years, I
have been pitching to her as an independent producer.

She recently left the network and partnered with writer/producer, MICHAEL
SEITZMAN to form Maniac Productions. They have an overall deal with Disney
(ABC Studios). When I met with her, they had a show in post-production for
FREEFORM called, Cleopatra, and have a pilot that was picked up at ABC called,
Staties. Here is an excerpt from my interview with her in January, 2018.

Stephanie (SV): When did you find out what Television Development is?

Christina (CD): My first job out of college was a receptionist job at TV Guide. I
worked in advertising for less than a year, and one of the editorial writers made the
jump over to a show called, Sisters, with SELA WARD, on the Warner Brothers
lot. She came back to visit one day and asked me what I wanted to do. I told her I
was in job transition and I didn’t want to continue working in advertising. She
called me that night and asked if I could come and be the writers’ assistant for this
show, which was in its sixth year. So I got a little bit of a handle of what TV
Development was there. But when that show was cancelled, I went into the Warner
Bros. lot temp pool and I got a call one morning that there is a job in development.
NINA TASSLER (former development executive and CBS chairman), needed a
temp. I didn’t know what development was but, the minute she zipped in and sat
down and started making her calls, I started to piece together that there is a studio

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executive who is the liaison between the writers, directors and the network. That
was it! I was in hook, line and sinker! And I fell in love with her too!

SV: Why did you choose working in TV Development as opposed to a different job
within the industry?

CD: While working for Nina, I learned that there is somebody that has a
year-round job that sells to the network, and there is a network development person
that has a year-round job that buys from the studios. That appealed to me because,
as a writer’s assistant, I felt the instability of the business. I thought maybe I
wanted to be a writer but, once I met Nina and I learned what development was
and the stability of that and the creativity was still there, I realized it was a better fit
for my personality. It involved building relationships with writers. You have a lot
of volume.

That’s the other thing I liked, being busy all the time. From the studio, it’s selling,
producing pilots… You’re in the trenches with the writers. It also blends nicely
with my need for structure and stability, but it leans directly into a creative role
which has been rewarding and fulfilling for the last 22 years. It was the perfect job
for me!

SV: For people wanting to pursue a career in TV Development, what would you
suggest they do?

CD: My suggestion is if you’re right out of college and you don’t have a job lined
up, which most people don’t, I would say if you are a writer, or if you want to be in
development, go to an agency. That is going to be the biggest education of the
business, which is changing so much. I would say spend a year there, get your
hands dirty and learn everything that you can. Listen in on those calls,talk to clients
about the industry and then pursue what you want to do. If you’re a writer, keep
writing. If you want to be a development executive you need to know what the
state of the business is and who’s who. Try to get into a studio, a pod (production
company), someone that’s doing what you want to do and learn from them.

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SV: What kinds of shows do you like to develop?

CD: Well, I’ve been at CBS for 20 years so my target has been very narrow. There
are exceptions, but my focus has been character-driven, closed-ended, story-telling.
In my new role as a producer, I am excited to expand upon this experience and add
more serialized dramas to my development slate. Currently, we are developing
Cleopatra, which will be a very different kind of show than I’ve developed in the
past.

SV: Regarding development, what would you do if you heard two very similar
ideas, but the one you liked better came from a lesser known entity?

CD: For me, it is about the idea. I can always package and add elements in order to
help the writer, but the most important element for me is the idea.

SV: What is the most memorable pitch you’ve heard?

CD: The Good Wife. It was timely. It was political. It was from the point of view
of the woman standing next to the man being accused. She had to rebuild her life
as a lawyer. It was a legal thriller. It was all these things. I loved it and I remember
it like it was yesterday.

SV: What is the best script you’ve developed that didn’t get made? What
happened?

CD: The Rainmaker, based on JOHN GRISHAM’S novel. I developed this show
while at CBS with my now current producing partner, MICHAEL SEITZMAN. I
loved it from the beginning and, for whatever reason, it didn’t get picked up. But,
because I love it so much and believe it deserves to get on the air, we are working
on repackaging it now and it will hopefully be on the air someday.

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SV: What is the most challenging aspect to developing a script?

CD: Seeing the vision of the writer end up on the page. It is so exciting to hear a
great pitch and then you go through the story area, the outline and the script
process. Then, if you get the script and it doesn’t end up as good on the page,
doesn’t live up to the expectations from the pitch, it’s unfortunate and probably the
most challenging aspect of developing a script.

SV: What are your thoughts about spec scripts?

CD: I love spec scripts. I encourage all writers to always write original spec scripts,
as opposed to specs of existing shows. Showrunners like to read original scripts vs.
an example of their show because it showcases the writer's unique voice. MARC
CHERRY (writer/creator/executive producer), really proved that and changed the
business with his spec of Desperate Housewives. He pitched the idea around town
and no one bought it, so he decided he needed to write it. He took a chance and it
paid off. It rebranded ABC!

SV: What do you love, or what is your favorite part of the TV Development
process?

CD: I love hearing a really great pitch and having it be realized to pilot and
ultimately series!

SV: What are the most challenging part and least favorite part of your job?

CD: After working on a season of development with hearing upwards of 400

pitches, developing 50 scripts that become eight to ten pilots, and then going to
New York for ten days where it is screened for the company, getting their opinions
and then going to Las Vegas where the pilots are tested with the public, and getting
their opinions… My development ends up getting dwindled down to maybe two to
three shows getting picked up to series, and hopefully, with one to two of them
staying on the air. The odds are staggering.

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SV: What are your thoughts on Indie TV? Is there a successful Indie TV model that
is similar to the Indie movie model?

CD: Not in broadcast television. It can exist and does outside of broadcast
television, but I do not believe it would ever work in broadcast.

SV: What do you feel will be different about the process of TV Development,
specifically in five years, ten years?

CD: I believe the process for broadcast television development will be changing
because it has to. The current broadcast model does not work because it is still
driven by advertisers. The ratings are dwindling and it has to change because it can
no longer be about who is watching live TV. No one watches shows live anymore,
with the exception of sports and news.

SV: In today’s market, what is the measure of a successful show?

CD: Awards, accolades, being recognized by word of mouth. A perfect example is

Handmaid’s Tale. Because it has won awards, people will sign up for the “30-day
free subscription” on Hulu and binge-watch the show. They will then see the other
shows and probably become a subscriber. It’s all about subscriptions.

*****

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INTERVIEW WITH ADAM BONNETT

Executive Vice President, Original Programming, Disney Channel

I met ADAM BONNETT through one of my students at UCLA. His former assistant
told him about my class and Adam offered to be a guest speaker. At that time, I had
not developed any children’s (“kid”) shows. After his lecture that night, I was
intrigued about the opportunities and benefits of that kind of programming and
decided to pitch to him. My partners and I are currently working on several new
ideas to bring to him. I met with him in his offices on the Disney lot in February,
2018.

Stephanie (SV): What was your first job in this business?

Adam (AB): I was an intern while still at NYU film school. I worked for
GERALDO RIVERA and for CNN. Then my first job was working as an assistant
at Nickelodeon.

SV: Did you know you ultimately wanted to work in children’s programming?

AB: No, I did not. When I took the job at Nickelodeon, it was 1990. My favorite
show was on MTV was Cindy Crawford’s House of Style. It was about fashion,
design and architecture and stuff like that. This was before HGTV and all the
different DIY shows that are out there now. It was the only way to watch that kind
of stuff, and I loved to watch it and wanted to work on that show. I thought if I take
a job at Nickelodeon, which was in the same building as MTV, somehow I would
make my way to working on that show, which was somewhat foolish because it
was on a different network. But once I got into the groove at Nickelodeon, I
realized how unstable and fickle the audience was for MTV and how loyal the kid
audience was at Nickelodeon. Also I liked that, in terms of creating shows, it had a

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little bit more longevity and the whole concept of creating kid stars was really
intriguing to me and certainly how merchandise can come out of content. That felt
interesting and attractive to me. So then I made the choice to stick around in this
kid’s business and not try and go to the more glitzy, sexy division of Viacom like
MTV or VH-1.

SV: What is the biggest difference in being a network executive today from when
you started?

AB: When I was at Nickelodeon, my job at Disney today didn’t really exist
because the great thing about my job now is that I oversee series development,
movie development, current series, casting/talent relations and short-form
programming. The short-form division didn’t even exist because we have these
new platforms that need content. These are new businesses that never existed and
being an executive who oversees series and movies is pretty unique. You don’t see
that all the time. Back when I was at Nickelodeon, they didn’t even make movies.

Also, making sure that our talent grows up on our shows happy and healthy is so
important to us and that’s a priority that has evolved over the years. So it’s my job
that’s really unique and it’s always challenging me.

SV: What would you say are the main goals when developing programming for
kids?

AB: I think that you are targeting a very specific audience who’s as young as six
and as old as 11 to 14. That’s the kids business. The preschool business is kids
aged two to five. So whether you’re developing for a preschooler or kids, you have
to craft a show that speaks to a very specific audience. For me, I like the specificity
of coming up with an idea for a kid that is as young as six and as old as eleven.
They’re going to love this concept or this character. Also, we’re boxed in. We can’t
develop stuff that is political or about sex or even too much pop culture. We are
trying to create stuff that is very “evergreen.” I actually like having those
guardrails. It forces us to be a little bit more inventive, clever. Then, on top of that,
we are the Disney channel, so it’s not just for kids, it’s for Disney Kids. So you

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have to constantly keep “Big Disney” in mind and make sure that whatever we are
making really feels part of that brand as well.

SV: Do pitches mainly come in to you or do you come up with the ideas internally?

AB: A lot of the areas we develop we do come up with internally, and then we go
to writers and tell them we want to do a show about a girl who’s a pop star that
feels special, and what’s the twist? They would come back to us with what turned
out to be, Hannah Montana. That’s not the only way. We went to TERRI MINSKY,
who created Andi Mack and said, “What do you want to write?” She said, “I love
mothers and daughters,” and she came to us with a pitch about a mother and a
daughter show but with a very unique mother and daughter relationship. It varies,
but we tend to come up with the ideas ourselves. We have this movie called
Zombies coming out in two weeks, and it was originally
called Zombies and Cheerleaders because it’s about the sort of lovable zombies
and these antagonist cheerleaders. We came up with it because it has two sets of
cliques that didn’t belong together. We gave the title to the writers and said, “We
want to do a show about zombies and cheerleaders, whatcha got?” And it’s
amazing what they came back with. With Descendants, we said we wanted to do a
movie about the children of the Disney villains, “Come to us with characters,”
which is what they did.

SV: For people wanting to develop shows for kids, what do you suggest they do?

AB: The first thing you have to do is to remember what you loved as a kid and the
kinds of content you would want to immerse yourself in…going back to your own
childhood and getting excited about that time in your life. You also have to
remember to look at things through a lens. You have to be able to say, “Yeah, I
think this is funny, but would a kid think this is funny?” Remember to have a kid’s
point of view.

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SV: What advice do you have for writers/creators looking to sell a TV show to you?

AB: The best thing is to write what is personal to you. You have to have a personal
connection to what you write. If you are trying to sell something to Disney, and
you don’t have a personal connection, or it doesn’t speak to any personal
experience you had as a kid, it will be hard to sell.

If you don’t have any credits as a writer, always attaching yourself to a person who
does is a good thing. Also, every network has incredible fellowship programs that
give opportunities to up-and-coming creators and writers. For us, we get to work
with a lot the writers who are part of the ABC fellowship program. They get
assigned to shows or ABC/Disney shows and that’s a great opportunity. Then, if
you prove yourself and they want to hire you as a writer, you’re done.

Another way is to get a job on the network executive side. We have a writer on
Andi Mack that started out as an assistant here. When the show went into
production, he came to us and said, “I love that show you guys developed and I
want to work on it.” Because we had a relationship with him and trusted him, we
were like, “We’re going to give him this opportunity.”

SV: What is the most memorable pitch you’ve heard?

AB: Well, we do get the crazies who dress up like a clown and come in with props.
But, when I think about the most memorable pitch or casting meeting, I think about
when the JONAS BROTHERS came in. At the time, they were just singers. They
did a scene for us to show that they could act, but then JOE JONAS jumped on the
table and started singing out the scene as a MICK JAGGER type of
actor/dancer/singer performing for us. I will never forget when he shocked us by
jumping on the table in the middle of the conference room. Then recently there was
a pitch where the writer was pitching a show about a family who lives with a robot
and he hired an actor to come in as the robot in a robot suit. It was annoying and
distracting. For a good pitch, you want to talk about the characters and stories, and
these props often take away from the pitch.

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SV: Are you open to original spec scripts?

AB: Definitely open as long as they are submitted the right way, through an agent
or manager for legal reasons. Of course, it’s hard to nail it on your own, but if
you’ve already done it…

SV: Have you bought any specs that have become a show?

AB: I know we’ve done it on the movie side, for sure. As a series, no, not specs,
but we’ve bought busted scripts from other networks.

SV: What is your favorite part of the TV Development process?

AB: Two parts. The first is when you hear the idea that feels where you say to
yourself, “Why didn’t I think of that?” It’s just so good, like Descendants was. It
was a great idea. The other part is when you sit in a casting session and the lead
kid… you see it. You’re like, “wow” that kid is not only the character we are trying
to cast, but depending on the project, you have the sense that this kid is going to be
a star when they grow up. If you look at our history, starting with HILLARY
DUFF, RAVEN SIMONE, MILEY CYRUS, SELENA GOMEZ, DEMI LOVATO,
DOVE CAMERON, the list goes on and on. We have a great track record and on
the boys’ side, ZACK EFRON, ROSS LYNCH, and THE JONAS BROTHERS. To
be able to find talent at a young age, nurture it and see them go on to be such a big
part of pop culture… and it means so much to kids and teenagers. It’s really
fulfilling.

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SV: What is your most successful/proud project that you were a part of?

AB: Gosh, really good question. Different projects for different reasons. I think
about That’s So Raven as our first sitcom. I was so proud of starting the sitcom
business for us back in the day be- cause so much of what has defined the Disney
Channel after that has been sitcoms. So to start that genre at the channel, which
was like 16 years ago, was really exciting. It was also that RAVEN was the first
African American girl to star in a sitcom with her name in the title. The only other
show at the time was MOESHA, which was played by BRANDI, and she was
playing a character vs. RAVEN, where we used her name in the title. She wasn’t a
conventional teenage girl. She was incredibly talented, unique in her own way. She
had a different comedic point of view about the world. She felt vulnerable and
special. I’m really proud of launching that show. I know it meant so much to kids
back in the day, and now as millennials watch her again, but [this time] as a mom,
is really fulfilling. Also, Hannah Montana because of the commercial appeal of the
show and everybody remembers that show. I think that show really merged music
and kids television story-telling in such a unique way. I used to oversee animation
and I developed two shows that I’m really proud of. One is The Proud Family, the
first animated series about an African American family. The creator really wanted
to animate and create a show about his family, and for a show to feel so broad yet
real was something that I was really proud of. Lastly, was this cartoon called, *Kim
Possible, about a female crime-fighter and it just felt ahead of its time. You look at
all the crime-fighter shows out today, there’s nothing about a teenaged girl. To
introduce a real action adventure show that still felt real, I felt was really ahead of
its time.

Side note: *About nine months after our meeting, Disney announced it was
bringing back Kim Possible as a live-action movie. It’s will be done and
released in 2019. I didn’t call Adam to see if our conversation had anything
to do with this reboot, but I’d like to think it did!

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SV: In today’s market, what would you say is the measure of a successful show?

AB: Any show where people are generally passionate about it. When a kid lights
up when they talk about the show, when they want to stay home and see it live so
they can talk about it the next morning, that’s what gets me up in the morning. You
don’t see that a lot with adults. For us, what matters the most is that passion a kid
has in how much they love the show. Then I love to see that passion reflected in
other ways so it’s not just, “I watched the show,” it’s “I want to dress up like the
characters,” or “I love the show so much I want to listen to all the songs from the
show/movie,” or reading the fan mail from the kids because an actor or character
means so much to them that they’re going to take the time to write a letter. That’s
when you know you’ve got something special.

*****

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INTERVIEW WITH TAYLOR LATHAM

President, Escape Artists Production Company

Development Executive, Double Feature

I sent a spec script to JASON BLUMENTHAL, one of the founders of Escape

Artists, because my production team and I were looking for partners. TAYLOR
LATHAM is the President of their TV division. I told her about this book. She
graciously accepted my request for an interview and I met with her in their offices
on the SONY lot in February, 2018.

Stephanie (SV): When did you find out what TV Development was?

Taylor (TL): I was working for MICHAEL SHAMBERG and STACEY SHER at
their film production company, Double Feature, and I kept reading stuff that felt
more like television than film, which I kept bringing to them and they finally said,
“Oh yeah, let’s get into television.” So, I got into it organically. I was running both
their television and film for them. After I had been there for six years, we got a
first-look deal with AMC and developed our first show with them, Into the
Badlands, which is still going strong.

SV: For people wanting to pursue a career in TV Development, what do you

suggest they do?

TL: I say this to anyone who wants to work in the business at all, go work for a
year at an agency. If you want to get in Television Development, try to get a job on
a TV lit person’s desk. It’s like being a freshman in college. You will learn the
people’s names that matter. You will be exposed to a bunch of scripts, both good
and bad. You will learn about the deal-making process. It’s basically like year one
of college. If you start out at a production company, as great and as warm as a

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production company can be, you will never have the volume. Also, there are so
many people who are essentially your age starting out in the business at the same
spot and with all the other assistants on that floor or in that department they kind of
become your freshman year friends. I still know everyone I started off that first
year with and we are all still good friends. Now they are top-level executives and
agents, and I can pick up the phone to call them. I have better access to those
people when I need information and that’s invaluable.

SV: What can someone with no credits do to get their project in front of you?

TL: When you are at a company like this, it’s kind of hard. For legal reasons, we
need for it to come through a lawyer or an agent or a manager so that later on we
are not sued. But, I say get your scripts read by as many people as possible. Submit
them to every contest you can think of. Almost all winners, even the top ten, will
get snatched up by managers. That’s the best way to break into the business. Or,
get an internship at a production company and walk into an executive’s office and
say, “Hey, I know I’m just an intern, but I have a great script.”

SV: What kind of shows do you like to develop?

TL: I like all across the board. I love dramas. I think all dramas should have an
element of soap opera to them. I think that’s what keeps you coming back. Even if
there’s an underlying mystery, which I also think is a great vehicle, the sort of thing
that keeps you coming back week-to-week is the soap opera between the
characters. I think any time you can have a soap element in a show, that’s what I
look for.

SV: What is the most memorable pitch that you’ve gone out with?

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TL: When AL GOUGH and MILES MILLAR came up with their pitch for Into the
Badlands, even though it was hugely world-building, I could see it all. They had
thought about the whole world down to the nitty-gritty. They really almost didn’t
leave anything up to my imagination with a central character who had a really
interesting journey. The main character is an assassin who figures out he wants a
better life and realizes he has to atone for all of his sins. You can understand how
it’s going to take him like five to seven seasons to reach enlightenment. But, within
this world they created, there were so many different divisions and factions, and
they each had names. It was just the world-building that they had such a handle on
that you heard it and you were completely confident that they were going to create
that world on the screen.

SV: Is it important for you to have projects come with attachments?

TL: No. I just need really good writing. I mean, that’s what Escape Artists does.
We’re good at putting the package together.

SV: What is the best project you developed that didn’t get picked up? And what
happened?

TL: We shot a pilot called, Prototype for the SYFY network. The reason why
Escape Artists fell in love with it was it was a very character-driven show and the
sci-fi elements to the show were pretty minimal. The character development was in
the forefront. What happened was SYFY bought it because it didn’t have a lot of
sci-fi elements to the show and, unfortunately, they passed on it because it didn’t
have a lot of sci-fi elements to the show,* so that was heartbreaking.

Side note: *This is sometimes the irony with TV Development. A network

will say they want one thing and then when you deliver that, they change
their minds.

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SV: What would you say is the most challenging aspect to developing a script?

TL: I would say getting the writer’s vision to come through on the page, and
sometimes it takes pulling teeth getting it out of them. A lot of times they have
great, big, grand ideas, but focusing it on to the page is the challenge.

SV: What is your favorite part of the development process?

TL: I love getting into the weeds with writers in terms of big ideas and making sure
the mythology of their big ideas or the architecture of the whole season is logically
thought out. Obviously, it all starts with a great pilot script, but the pilot should be
somewhat of a mini-microcosm of the whole series. If you can’t really feel that
you’ve got a handle of the architecture of the whole series from the pilot script,
then you’ve got some work to do. That’s the fun of it for me.

SV: What is your least favorite part of the process?

TL: (laughing) Selling. Even if three places want something and two places say no
and one place says yes, you still can’t help but feel the rejection of the places that
said no.

SV: What are your thoughts on Indie television?

TL: The future is always changing but, at the moment, networks like to have their
fingerprints on their stuff. So unless you want to upload it to YouTube, it’s hard to
get the financial backing. It’s hard to get the executive investment in it when you
want to deliver everything on a platter.

That’s not to say that if you’ve got a bunch of friends who are good actors and a
friend who can be a great cameraman not to go out and film an eight minute
presentation that sometimes can incredibly help. But otherwise, at the moment,
you’re still stuck with putting it up on YouTube, or potentially some other sites.
There are not a ton of those. It’s possible. It’s just harder.

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SV: What do you feel will be different about the process of TV Development in five
or ten years?

TL: It feels like the last few years have been very heavy on IP and, with more
outlets opening up I feel it will become even more IP dependent. That’s just my
prediction. When you have a new company that is just getting off the ground and
you are just trying to get eyeballs, they want it to be something big. There’s a
reason why Amazon bought the The Lord of the Rings IP. They had eyeballs
already and even they were like, “What is gonna be our big, almost pre-sold idea?”
I think that any sort of new companies popping up are gonna want those anchors.

SV: In today’s market, what do you think is the measure of a successful series?

TL: That you get more than one season!

*****

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INTERVIEW WITH GEOFF SILVERMAN

Partner, Cartel Entertainment

Literary Manager

I met GEOFF SILVERMAN at the William Morris Agency. We were assistants in

the same department. He has gone on to become the co- founder of the production
and management company, Cartel Entertainment. He has built an impressive list of
clients. His offices in the heart of Hollywood are well-equipped with edit bays, a
sound stage and an executive suite. Here’s what he had to say during our meeting
in February, 2018.

Stephanie (SV): How did you get your start in the business?

Geoff (GS): After graduating UCLA, I got a position as an assistant for the
William Morris Agency working in the talent department for AMES CUSHING
and JOAN HYLER. They had some pretty amazing, big, big clients. Working in
the trenches.

SV: When did you know you wanted to be a manager?

GS: Pretty soon on I realized that, if I were a manager, I could produce. When I
was working for BRETT RATNER, I started ‘hip-pocketing’ clients. The thing that
I first saw, which was way, way ahead of the curve, was taking on diversity writers
and really championing them. I had so many diversity clients who were not on
staff. They were in writing programs and now they are up to Co-EP level. I have
this guy, ANUPAM NIGAM, who is the co-executive producer on the new Grey’s
Anatomy - Fire House spin-off. When I found him, he literally was an NYU
medical student. I have this guy, named ANGEL DEAN LOPEZ, who this past

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year was the number two on three shows. I have this guy, BRYAN OH. He was a
staff writer on The OC when I signed him. He’s now the Co-EP running the room
on Zoo for APPELBAUM and NEMEC.

SV: Are you a producer on all of your clients’ projects?

GS: Not always. I always put my client’s interests first. If there’s a project that I
bring to the client like, “Here’s a book or a piece of IP,” and I feel comfortable to
say to them, “Hey, Cartel is looking to be a producer,” then we would remain
involved, but my main focus is staffing. Until my clients get to the point where
they are showrunners, it’s really hard for me to attach myself and have Cartel be a
meaningful element. However, we are currently trying to find IP that’s meaningful,
and there are a couple of projects now that I am attached as a producer. For
instance, our IP person here found a book called, “Blood and Whiskey.” It’s about
the real guy JACK DANIEL. He’s a bootlegger and a womanizer. It’s a period
piece about how he came from nothing and built this empire. Originally, we sold it
to WGN. They paid him to write the pilot script but, now that they’ve folded, we
are out with it again. So yeah, if we are an instrumental element, we will be
attached as a producer.

SV: Speaking of the IP market, it has become the way everyone is developing now.
Do you feel in 10 or 15 years there will be something else that we’re not thinking
of that will be the new wave of developing TV shows?

GS: That’s a great question. I think that IP has become so successful because no
one wants to take a risk anymore. Everybody is coming from a place of fear. So,
they (the network) are going to take anything that has name value, brand
recognition, and, if there were people watching in the past, they are like, “Great!
That can get eyeballs.” Because a ton of people used to watch it twenty years ago,
they are going to wheel it out, polish it up and redo it.

SV: How would you suggest a new writer get representation?

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GS: There are a million programs for diversity writers at all the networks: The
ABC Fellowship Program, the Warner Brothers Writers Program, the CBS
Diversity Program, the FOX Initiative.

SV: Can writers cold-call you?

GS: No. I get writers from these programs or from agents, but I think if they would
call the assistants or junior agents or managers, that would be another way. We
have junior managers here who are constantly telling us about writers they found
and are working with. I think the way in is through assistants. Call the assistants at
Imagine. Call the assistants at FOX. Any one of these millions of companies out
there, they all have assistants, and say, “Hey I’ve got this great project. I’m a new
writer. I’ve got this great idea. Is there anyone over there that you will think will
read it? Would you read it? I’ve got three other production companies reading it
now.” You’ve just got to be networking in this town.

SV: What do you feel your role is in the TV Development process?

GS: Since everything now is IP, every production company in town options books
and articles. So I spend a good amount of time calling them to say, “Hey, what IP
are you looking for a writer on?” And then they’ll say, “We just optioned…” Then
they’ll tell us what type of writer they’re looking for, and I’ll send them two or
three people to consider for coming up with takes. They will usually do a kind of
“bake-off” where they will have like ten people come up with ideas and then pick
someone to go out with for a show.

SV: Do you work on the pitch with them to take to these production companies?

GS: Yeah, oftentimes I do, but it depends on the client. Sometimes they’ll say,
“Geoff, I got a take. Let me just take a meeting with the producers and I’ll pitch it.”
And then other times they’ll say like, “Here’s something I’m working on. What do
you think?”

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And I will work with them on the idea. Sometimes they will also write spec scripts,
original spec scripts because no one writes spec scripts of episodes anymore. But
before they’ll even write a script, I’ll say, “Give me a list of loglines of scripts
you’re thinking of writing.” And then I’ll say, “I’m really gravitating towards this
idea. I think you should focus on this one.” They may send me a ‘beat sheet,’ and
I’ll give them notes on that. Then they send me a first draft, and I’ll give them
notes on that. Sometimes I’ve have other people here read it or they give it to their
writer friends. You know, there are never too many people you can share a script
with before you share it with the town. I am definitely very hands-on because we
try not to bother the agents too much. They don’t really have the time to do all that
stuff. Managers are much more hands-on. Day-to-day, we talk to our clients all the
time and really try to get the scripts in the best shape possible, and then get it out
there.

SV: What is the most challenging aspect of developing with your clients?

GS: I find that it’s sometimes hard to come up with a concept that’s unique.
Everything’s been done ten ways to Sunday. It’s challenging for the writer to come
up with a take that is unique and jumps off the page and is going to stand out from
the next guy or woman who is sending in their pilot script. So, I’m on them about
finding ideas that feel fresh, super different, maybe have a hook. It has to pop off
the page.

SV: What’s the most rewarding?

GS: What I love as being a manager is I love calling clients when they get a job.
Like when a client of mine took a six to seven year sabbatical and went on to be a
teacher in a high school in Westlake and someone gave me a script he wrote. I
thought it was really great. Six months later, I got him a job and he’s doing it right
now. He’s in his second season. It’s a show on Hallmark called, Chesapeake
Shores, and he’s the showrunner! When I called him to tell him that, after six
months of “repping” him, he’s going back to work after six years, and as a
showrunner and he was going to be paid exorbitant amount of money - way more
than he was making as a teacher. He was on speakerphone with his wife and they

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were in tears, saying, “You’re an angel sent from heaven.” It’s so rewarding to
have clients who are super-appreciative. Even today a client of mine, whom I’m
not even attached as a producer, sent me this Chinese New Year two-dollar bill just
because I worked so hard for them. They told me they wanted to do a show about
MARIE LAVEAU, the Voodoo Queen of New Orleans in the 1800s. So I called the
Wolper Organization and, before I even told them about the pitch, he’s like, “We’re
looking for a writer for a Marie Laveau project." I told him, “We have it.” So we
brought it to them. They loved it and then MARK WOLPER had the idea to bring
it to LEE DANIELS, and Lee loved it and attached himself as the director. Then
they made a deal with FOX 21 and sold it right before the holidays to Amazon as a
‘put-pilot’ plus two scripts.

SV: Wow! This shows how the stars aligned for this project.

GS: Right! And tomorrow they are meeting on the spinoff of Supernatural because
it’s ending. When it works out, there’s nothing better.

*****

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INTERVIEW WITH MARTY BERNEMAN

Independent Talent Manager/Producer

Partner, TheNewEntertainment.com

I met MARTY soon after I moved to Los Angeles from New York. We were close
friends then and still are today. When I was at Spelling TV and developing the
Charmed series for the WB network, I gave Marty the pilot script after it was
completed because I was so excited about it. He shared it with a client of his,
HOLLY MARIE COMBS. At the time, she was best friends with SHANNON
DOHERTY, and the rest is history. Marty and I became producing partners in the
mid 2000’s when he was adding producer to his list of professions. The first project
we put together as a team was These Broken Stars, which is currently being
developed for Freeform, with MGM as the studio. This interview took place in
January, 2018.

Stephanie (SV): How did you get into the TV business?

Marty (MB): I have a first cousin that is a television writer, and when I was
nineteen he sat me down and said, “I think you need to get into the business.” I
said, “No, no, no,” but he really wanted me to get into this world. A year later, he
was doing a pilot for ABC. He asked me to come and intern in casting and, after
that, I became a PA (production assistant) on the set. I decided to try it and I
worked for NAN DUTTON, a very big television casting director at that time, and
that was my foray into the business.

SV: But then you segued into working at an agency?

MB: Yes. I worked at Innovative Artists Agency. Personally, I feel that a talent
agency is a really important part of the business. I liken it to the central nervous

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system. All information that is needed in the business comes in and out of a talent
agency, especially the larger ones. Without the talent agencies, nothing else would
survive.

SV: What was the most challenging part of your job as a talent manager?

MB: Knowing what each client needs at a given moment in time. Each client is at a
different level, and you really have to figure out what they need and anticipate
what they are going to need. It was not even about getting them a job per se, it was
about their specific needs and making sure you were the center of their world. The
clients become an extension of your personal and professional life.

SV: What about when you switched to becoming a producer? What is the most
challenging aspect?

MB: Learning the new players. As a talent manager, I was talking to the heads of
casting at each studio. As a producer, I needed to find out and get to know the
development executives. These were new sets of individuals that I didn’t know. If I
didn’t know who the player was, I would call the casting person at the studio or
network that I worked with and ask them to set up a meeting for me. They would
always come through because I had a relationship with these leaders of the industry
for the past twenty years.

SV: What is your advice for writers just starting out?

MB: Get into a writing group, writing workshop. Act as if you are part of the
business. There are all these different things that you can do. You need to immerse
yourself into the business in order to find out who the players are, who you need to
talk to, who is that connection to x, y and z. It’s really about who you know. Also,
now that we have the internet, you can write a web-series. Go and do something
small and get it self-produced. You can’t sit on your ass! You have to go out there
and do. No one is coming to you. You got to go to them.

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SV: What advice do you have for non-writing producers wanting to produce TV
shows?

MB: It’s all about material, material, material. Find yourself a hot book or an IP.
Find that source, whether it’s a great script, article, book, foreign television show,
comic book series, who knows… that’s one thing. Then align yourself with
someone, a writer, another producer, an actor. Then figure out what is your brand. I
think that's the thing. Know who you are and what you are good at selling!

SV: Do you have a strategy for selling a TV show?

MB: Cover your bases. Are you represented? Do you have a manager or an agent?
Next, where does your material fit? If it’s an HBO series, then you have to figure
out how to connect to the HBO network. Be sure not to take your show to the
wrong place. For instance, if you were selling The Good Wife, you wouldn’t have
tried to sell that to HBO. Know your audience. That’s the key.

SV: What was the first TV show where you were part of the TV Development
process?

MB: When I was a manager, I was very involved with the first-ever Hulu series
called, Battleground. They wanted my client for the lead. It was interesting to
watch that process, because at the time they didn’t have a lot of money and almost
everyone didn’t understand streaming television. I read the script and, actually in
this case, we got the full-season of episodes to read - all 10 episodes. The fact that
we got to read the whole season and see where it goes was an anomaly. I read them
and thought there is no way my client is not doing this. I remember having a call
with his agent where I said, “I really think he needs to do this,” and she said, “Over
my dead body.” I told her that this is the future. He ultimately did do it and now he
works all the time. Actually, I just heard they are putting the cast back together to
do a second season now - seven years later.

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SV: What do you feel will be different about TV in the next five years, ten years?

MB: I can already see that, over the last year (2017), CBS has created an all-access
app that you can use on all your devices. I think they are the first broadcast
network to be producing content for their own app. No other network is doing this
yet. I think they are being very smart about it because I don’t think broadcast
television will be very strong in the next five years. I think it’s going to be all about
our devices, and network television, in the traditional sense, is going to die. If you
look at CDs, DVDs, Blockbusters, they don’t exist anymore. I think the next thing
to go is cable. I believe we will all have apps for the different networks and
studios, and you’re going to be able to pick and choose whatever you want. There
is not going to be a need for a television set per se.

*****

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ADVICE FROM TOP NETWORK EXECUTIVES

I interviewed the TOP EXECUTIVES at A PREMIUM AND A BROADCAST

NETWORK in August, 2018. Unfortunately their networks’ prohibited me from
publishing them, so I paraphrased the information from the interview to share with
you.

THE TV DEVELOPMENT PROCESS

One of the development executives felt that most TV shows are developed the “TV
way.” Meaning, there’s a lot of material out there and someone will call and tell the
network executives about it. Or they are developed the “movie way,” which is
there’s a lot of material out there and the network executives have to find it and go
after it themselves. Also, networks are presented with a tremendous amount of
scripts. In the development process the truth is, it’s inevitable there are great scripts
that don’t get made and lesser scripts that do.

One big consideration for the networks is time constraints. They have only so
much time to develop a project with someone (aka the writer). There comes a point
when a project may be taking too long or a point where there is just not enough
time to work on that project. Most networks have a cycle for developing shows. It’s
about six months long, and then they decide if they are going forward with it or
not. However, there are a few networks out there today that will develop a show for
years. This is more like feature development.

They talked about how network executives are notorious for giving writers plenty
of notes, but they expressed that the key is to be careful when they express
themselves. They know many writers can be sensitive about their material and
even though writers want to hear what the networks have to say, they’d really
prefer to be complimented. So a network executive must walk a fine line.

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They can’t insult the writer, yet they need to convey everything that has to be
changed or modified. They agree it’s important for networks to understand what
the writer is trying to accomplish in each idea put forth.

One executive talked about how SYDNEY POLLACK is a legend in this business
because he was one of the first people to be Socratic about how he gave notes,
meaning he would ask many questions. His questions were encouraging while
pointing out what was wrong with the script. In doing so he was able to elicit
understandable and workable solutions.

Therefore, during the script development phase, a network executive might ask the
writer, “What are you trying to do in that scene?” “What do you want me to
understand about this part?” “What can we do to make this better?” This way the
writer won’t feel too harshly criticized. Another important skill for executives to
have is to be a good listener. They have to tell writers what they think and make
sure they are getting their points across, yet they also must listen carefully to what
writers are trying to say Only then can they work effectively together.

There is general consensus in today’s marketplace that writers and/or producers are
at a disadvantage if they don’t have a book or an IP. Network executives believe
the reason people get the rights to books is because it is a great springboard to be
able to start with something that already exists. There are hundreds and hundreds
of words on the subject already, so that is a preference for the writer/producer and
the networks. Also, movie stars will eagerly sign on for eight hours of a book
adaptation.

THE PROCESS FOR SHOWS GETTING ‘GREEN LIT’

At most networks, developing a TV show is an arduous process. There’s testing

and company-wide meetings with all different divisions and departments. Yet there
are a few networks that have a very small group deciding on everything that gets
made. They don’t test, or ask anyone else. It’s up to a small group of executives.

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PITCHING ADVICE

Make it interesting! Every place will want to know your idea and storyline in about
two to three minutes. It’s important for writers to explain what their show is about
in a simple way while getting others curious and excited about what comes next,
who the characters are, and what they are going to do in series (for the episodes).

The network executives advised that it is important to do research and learn the
interests, focuses and culture of the networks to which you are trying to sell. This
can make or break selling your show. Your producers and agents may also be able
to give you insight on some of the nuances.

It is also important to have a fresh perspective. There are over 500 scripted shows
on the air, so obviously not everything you pitch will be right for a particular
network. Networks end up passing on most prospective shows. These days, you
really do need to stand out from the pack.

THE BUYERS HAVE DIFFERENT FOCUSES AT BROADCAST VS. BASIC

CABLE

The buyers at broadcast networks purchase a greater number of TV shows/series

than the buyers at cable networks. They have more resources and can get a project
if they really want it. The big difference is they look for programming that has
broad appeal. When “big names” come to broadcast networks, they have to move
quickly because there is a lot of competition.

Cable networks are more boutique operations. They generally cater to a more niche
audience. They are very focused on how much can be spent and how to beat the
competition. Also, they are much more limited as to the offers they can make.

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ADVICE FOR YOUNG WRITERS AND DEVELOPMENT EXECUTIVES

For writers, start with writing as much as you can. You need to develop a body of
work so you can figure out who you are as a writer. In this way, you will develop
your own writing style and learn your own voice. You should write something that
is close to your own experiences. In other words, write what you know.

A good way to start out as a development executive begins with a stint at a talent
agency. Then you can work for a production company, studio, network, or all of the
above. Another option is to enroll in this author’s course at UCLA, “TV
Development: From Idea to Small Screen.” (This was unsolicited)

THE MEASURE OF A SUCCESSFUL SHOW IN TODAY’S MARKET

Ratings still matter and awards do help. The hardest thing to quantify that means
the most today is the ‘cultural impact’ a show can have. Network executives agree
that if someone can create a show that impacts our culture in some way, it makes it
more appealing. This can be an idea that impacts us socially, has people talking
about it, helps people see a different point of view, influences other media, etc.

Whether you’re in broadcast, cable or streaming, the buyers believe that shows that
culturally influence us in some way will probably have the greatest impact on us.

*****

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ADVICE FROM TOP LITERARY AGENTS

I interviewed LITERARY AGENTS FROM TOP TALENT AGENCIES in January

and February, 2018. Unfortunately the agencies prohibited me from publishing
them, so I paraphrased the information from the interview to share with you.

THE DIFFERENCES BETWEEN A MANAGER AND AN AGENT

Traditionally, agents are tasked with getting people jobs and managers spend their
time developing material. Agents work in volume, and managers get into the
nitty-gritty with fewer people. They felt it is a personal preference. However, many
agents become managers, and many managers become agents.

They felt that managers are in a better position today than they were 15 years ago.
They have become more essential to the business as evidenced by the fact that they
are a part of the majority of TV shows on the air. Agents, on the other hand, have
even more options. They get to represent a lot more material, projects, volume, etc.
They also tend to work for larger companies.

THE AGENT’S ROLE IN THE TV DEVELOPMENT PROCESS

Agents felt that it was key for them to know the marketplace, i.e., what different
buyers are looking for, and anything else that might help their client’s idea have a
better chance of selling to a particular outlet.

Most important, agents should be an advocates for their clients’ ideas. Agents
represent the storytellers who might come to them and say, “I want to do this.”
Conversely, agents can bring ideas to their clients. Maybe an agent sees a great
piece of material and realizes she or he knows of a writer who might be perfect for
the project. Whether it’s a book, an article, or an old television show idea that

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could be redone, their main role is to be an advocate. Agents try to get as much IP
product as possible and bring it to their clients.

Also, they like to put their clients together. If an actor comes to an agent with an
idea, the agent will try to find the right client to attach to the project. Sometimes
they do it to help nurture a project along.

One factor agents consider is how the client enters the process. If the client has a
spec script that they’ve written, the agent will read the script, evaluate it, and most
likely help them. They would probably give mostly macro notes because agents
who get into the very small details with notes would be spending too much time on
development. Agents said it was more of the manager’s job. Agents don’t have
time for that the way a manager or a producer might. There are also many different
uses for a script. Agents can try to sell it, use it as a writing sample for
development, or even for staffing purposes.

NON-WRITING PRODUCERS WHO WANT TO PRODUCE

TV SHOWS

Across the board, agents agreed it is imperative to have the best IP, or the best
material, that you can get your hands on. Let’s say, for example, you are the person
who has the rights to Big, Little Lies. You would become a very important person
in the mix. The person who had the rights to Game of Thrones never produced a
TV show before! The process is arduous, but if you have the right IP you become
indispensable.

Perhaps you have a relationship with talent? Maybe you optioned a script? The
person who optioned True Detective, as well as Ozark, was from outside the
business. Therefore, if you are the person who identifies (and gets the rights to) a
great piece of material, that would surely work in your favor.

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HOW AGENTS PREPARE THEIR CLIENTS TO PITCH IN THE
MARKETPLACE

If a client walks in with an idea, the agent will listen and try to determine if the
show has a specific point of view because, they emphasized how important it is for
a show to have one. If it’s just a kernel of an idea, the agent may ask the writer to
expand upon it so that it can last for many hours on television. This is different
than a movie, which is two hours in and out.

The agents say that, in TV, no one is particularly interested in the just the pilot.
Pilots alone don’t sell TV shows. TV buyers want to know that the show has a
long, extended narrative. The agent and writer will determine that beforehand.
Then they will decide if it is commercial enough and if there’s a buyer for it. The
good news is that there are so many buyers in the marketplace today there might be
a home for just about anything.

Another type of pitch is when you are selling a show that originates from a book or
an IP. The agent will put the book, or IP together with the right writer, or
non-writing producer, and then figure out where to market it.

HOW A NEW WRITER CAN GET REPRESENTATION

Having a great piece of material is the most important factor. Writers should be
writing all the time, not only to improve their craft, but also to develop future
material.

It is important to build a strong network of friends and relationships. You could

start out by working at a studio or on a production. If you want to be a TV writer,
try to work for people making television shows. They are going to become
advocates for you from within. Work the head writer on a show and get him or her
to read your script. They are more likely to read your script before they read
someone else’s.

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Another skill a writer should have is being “good in a room.” You should be
enthusiastic and well-versed. Remember that the people you will meet with have
probably seen all the TV shows and movies that are related to your work in any
way.

PITCHING A TV SHOW

It has to be the best pitch possible, which includes a clear idea of the world you are
painting and the characters you are creating.

The agents said you really don’t have to pitch the story as much as the total
concept. (This does depends on the kind of show you are doing, i.e., franchise vs.
serialized.) You want to set up the world and then the characters. The networks
should be able to see that there’s a show there. For example, if you were pitching
The Sopranos and described it as, “a mafia boss in therapy,” the networks could
(and did) imagine many potential conflicts and stories that could come out of this
set-up, and what a rich world it could develop into. Your story should be able to
last multiple seasons. That’s what you want to convey in a pitch.

SHOULD YOU ATTACH A STUDIO BEFORE GOING TO

THE NETWORKS?

That depends on your idea and what networks you are targeting. Today there is a
lot of “vertical integration” in the industry. This means that many studios and
networks are subdivisions of the same company. Professionals say that projects
coming in from related companies are going to have a better chance of being
successfully produced. Therefore, if you believe your project is perfect for a
particular cable company or network, consider bringing it to that sister studio first.

Also, it is critical, in both the comedy and drama worlds, to be working with
people who are experienced and have relationships everywhere. You need someone
that the networks would buy from. But the most important person will always be
the writer and/or the showrunner. Furthermore, having a big producer, director, or
talent in your corner would, of course, be very helpful.

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THOUGHTS ABOUT SPEC SCRIPTS

The professionals felt that, in today’s marketplace, it is advantageous to have spec

scripts because that is what the networks are looking for. Although plays and
screenplays (movie scripts) are also welcome, the agents said that original TV
material/TV pilots are the key.

They said there are certain types of writers who would benefit by developing spec
scripts. Let’s say a writer has a strong vision for a TV show, but has trouble
articulating it in a pitch. Perhaps a writer doesn’t want his or her original concept
going through too many hands where it might be changed. They would be
well-advised to write spec scripts.

Writing a spec gives the writer total control until selling it to a network. If it is
exceptional, the networks will buy it. An important downside is that the writer does
not get paid while writing it.

Agents wanted to advise writers to have more than one sample of their work. But,
above all, their main advice was - never stop writing! Keep creating.

FOR WRITERS/CREATORS LOOKING TO SELL A TV SHOW

Do your homework. Learn from people who are doing it by watching all the shows
that are out there. Educate yourself on why they work as TV shows. Be open to any
kind of criticism and any information you get to make your show better. When you
go out to sell, be prepared for every question you are going to be asked. If someone
is interested in buying your show, you’re going to get a lot of them. Have the
answers. There are usually no wrong answers, but you should have your opinion
and be open to modifications during the TV Development process. If it’s going to
make the difference of someone buying your show or not, don’t be
uncompromising with your material. It is their network so they should have some
input.

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THE REALITY WHEN SELLING SHOWS

When you go out with a project, the answer you will hear most often is “No.” You
will get very few yeses, and hopefully take the no’s in stride. You must stay
focused on your goal and be resilient. From the pitch stage to getting a series order,
this is part of the process.

MISCONCEPTIONS ABOUT TV DEVELOPMENT

People who aren’t in the business may think it’s all about a great idea. The truth is
that much of it is dictated by who is going to be executing the show. If you watch a
great television show and look at the credits you’ll see that there are master
storytellers, master filmmakers and master actors… along with that great idea.

Also, writers and producers have to determine if an idea should become a TV show
or a movie. There are a lot of great ideas that just aren’t suited for TV. People often
misjudge what a great TV show idea is. For example, a great televised event is not
necessarily considered a great TV show. A great TV show is one that becomes a
series and lives over a long period of time.

INDEPENDENTLY PRODUCING AND SELLING YOUR

OWN TV SHOW

The perception from agents is that it is very risky. Most people who attempt to
independently produce their own show lose money. The upside of independently
producing TV shows is that you (or whomever financed it) will own the show, be
able to develop it creatively without network input or interference and sell it
(domestically and internationally). This will give you the most profit. Keep in mind
that producing a television show is extremely expensive. It is not easy for most of
us to find someone who is willing to put up that kind of money, has faith that the
show will work internationally, and be able to put all the pieces together. However,
here are some of the reputable/successful independent financiers in television
today: MRC, Gaumont Television, and Sonar Entertainment.

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THE FUTURE OF THE TV DEVELOPMENT PROCESS

Twenty years ago the TV Development process was focused on a pitch. Nowadays
you still need the pitch, but you can write a spec script and/or make a sizzle reel to
get your project out there - and you can make a sizzle reel for very little money!
This will hopefully lead to getting a series order more quickly.

The agents believe the future of the process probably won’t be much different than
it is today. But judging from how fast technology is advancing, you will probably
have even more ways to get your idea out there.

THOUGHTS ON SUCCESS IN TODAY’S LANDSCAPE

For a show to be successful, the agents believe that it’s not about critical acclaim or
even ratings. They agree that it’s all about profitability. If your show is making
money, it will have a much better chance of staying on the air.

*****

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154
 ACT FIVE

Final Thoughts

BEYOND THE PILOT

In order to have a successful TV series, it is necessary to show that your story goes
on far beyond the pilot. I cannot stress this enough. This is why the development of
your series before you sell it will be a big part of the reason for its success or
failure.

Before trying to sell your series, going through the development process and
working out the bible will give you a big leg up for success. Also, being open and
flexible to the process is key. (See Act 2, “What is a Bible for a TV Series”)

Today, there are so many different shows on the air that the audience has become
fractured. This is one of the many reason shows are dropped after the first few
episodes or first season.

In this regard, the following are excerpts from, “Among Broadcast Networks,” at
Screenrant.com.

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“Looking back on the programming decisions
made by the networks from 2009-2012, you may
be surprised to find out that, on average, 65% of
new network television series will be canceled
within their first season. Completely
acknowledging the fact that television, like all
entertainment, is a largely subjective medium, the
numbers do not actually represent the quality of
the television series on the air. Even though more
than half of the new shows will be canceled, that
doesn't mean that more than half aren't of quality -
or worth watching. Nor does it represent the
demographic of the networks' audience or the
impact that demographics have on ad revenue.

Instead, these numbers represent, at their core, a

network's ability to not only appropriately select
programming for its audience (including potential),
but to also schedule in such a way to allow for a
series' success. As many fans of cult television
shows know, perhaps more than anyone, even a
quality series can fail solely because of a given
time-slot. Providing much more than simply the
amount of new series that will be canceled, the
numbers also reveal that out of all the broadcast
networks, new television series on ABC have the
highest chance of receiving a second season - with
an average 39% chance of renewal. Trailing not far
behind, Fox and CBS have 38% and 36%,
respectively.

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 This is an interesting placement for Fox, con-
sidering they only have to schedule programming
from 8pm-10pm, instead of 8pm-11pm like most
networks. Even with a portion of the pick-ups
comparable to other networks, ABC still managed
to come out on top with these statistics, though
Fox is currently considered the #1 broadcast
network.”

If you are fortunate enough to get through to the third season, networks will
usually keep the show going for at least another couple of seasons. The idea or
chance of getting past five to seven seasons is a long life of a first-run show in
today’s landscape. It seems that longer running shows are a thing of the past (e.g.,
Law and Order, CSI, Simpsons, SNL), but not impossible.

TELEVISION VIEWERSHIP

The following was reported by Nielsen Media Research, television’s leading

premier rating service.

“Today's (2017) media landscape is ever changing,

but it's also growing. Adults in the U.S. are
spending an additional half hour more a day
compared to last year connected to media across
platforms—digital, audio and television—which
are the three platforms of content distribution and
discovery for the average consumer. And these
devices have become a constant companion to over
200 million consumers in the U.S. and this
personalized entertainment is always at their
fingertips.

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 As of June 2017, 58.7% (or 69.5 million) of TV
Households own at least one internet-enabled
device that is capable of streaming content to the
television set. This includes an enabled multi-
media device, an enabled smart TV and an enabled
video game console. “

According to the Statistic Brain Research Institute in 2017:

99% of households have a television with 2.24

TVs per household.

67% of Americans watch TV while eating dinner.

47% say they watch too much TV.

The amount of years the average person will have

spent watching TV over their lifetime: 9

The average amount of time a youth spends in

school per year: 900 hours

The average amount of time a youth spends

watching TV per year: 1200 hours

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According to the Bureau of Labor Statistics Leisure Activities in 2017 were as
follows;

“On an average day, nearly everyone age 15 and

over (96 percent) engaged in some sort of leisure
activity, such as watching TV, socializing, or
exercising. Men spent 33 minutes per day more in
these activities than did women (5.5 hours,
compared with 5.0 hours).

Watching TV was the leisure activity that occupied

the most time (2.8 hours per day), accounting for
just over half of all leisure time, on average. The
amount of time people spent watching TV varied
by age. Those ages 15 to 44 spent the least amount
of time watching TV, averaging around 2.0 hours
per day, and those ages 65 and over spent the most
time watching TV, averaging over 4.0 hours per
day.” (See table p.160)

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160
WHAT SOME ACTORS HAVE SAID ABOUT WORKING IN TV:

“I feel like some of the best talent is on TV right

now, with the writing, acting and great directors.
I've also been looking for the consistency of work
that TV provides for you. And, I always thought it
would be really interesting to live with a character
for months, if not years.”
CHRISTINA RICCI (Brainyquote.com)

“I wanted to be involved in TV and film in some

capacity, so a compromise, because acting seemed
unrealistic, and so risky, was to get into the
production side. And it was a really fortunate,
smart move looking back on it, because it gave me
perspective on another side of the business.”
WENTWORTH MILLER (Brainyquote.com)

“When you're doing a TV show, it's not like you

just shoot for six weeks and you're in an editing
room with all of your footage. It's like a guitar or a
car, you have to fine tune things. You stop doing
what's not working, you work on what is working
and you add things that do work.”
CHRIS PRATT (Brainyquote.com)

“I don't have real big aspirations to be a movie star.

I would love to be on a long-running hit TV show.
You end up playing a defining role.”
JENNA FISCHER (Brainyquote.com)

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TAKE NOTE

Most TV shows don’t make it to the small screen. According to Wikipedia.com, in

2018 it categorized 45 pages of “Unaired Produced Pilots.” Each year, millions of
dollars are spent on pilots that don’t get picked up to series. But every show that
does get on TV, on all the networks, cable and streaming platforms, shows you that
you can beat the odds and get a show on the air!

Another thing to consider is that your TV show may change as time goes by due to
many influences beyond your control, such as budget constraints, actors, directors,
life, and timing. But the hope is that your show/pilot gets better and better even
through delays and detours.

FINAL TAKES

YOU HAVE NOW COMPLETED A COURSE IN TV DEVELOPMENT!

CONGRATULATIONS!

You have acquired the tools you need to sell your ideas because you have studied
the processes and heard from the experts.

Also, you have a prerequisite for becoming a TV Development executive, TV

writer or TV producer. I hope you feel you have a good understanding and a
greater appreciation of what it takes to develop and sell a TV show.

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WHAT DO YOU DO NOW?

If you are interested in becoming a:

⬛ Development/Current Executive at a network, streaming service or a studio:

●​ Get in the door at one of the big companies and start as an assistant.
●​ Read, learn, network!

⬛ Agent or Manager:
●​ Sign up for a company’s training program.
●​ Network and read!

⬛ Writer:
●​ Keep writing.
●​ Submit online.
●​ Get in a writing program.

⬛ Producer:
●​ Keep working.
●​ Find great material.

⬛ Director:
●​ Keep directing. Work on your craft.
●​ Get a job working for a director.

⬛ Most Important For All:

●​ NEVER GIVE UP!

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NOW, GO MAKE YOUR TV SHOW!

When you do get your show in production, you will have a chance to hire a
director (unless one is already attached), a staff of writers (it’s critical to get the
best), a cast, and all the below-the-line producers and production crew who will
figure out everything necessary to transform what is on the page to the small
screen. Seeing your hard work grow from a mere idea and come to life on the
screen is no less than wonderful.

SUCCESS

In my experience, when a show gets on the air and continues for several seasons, it
is exhilarating! It’s a great experience for you, the audience, the networks, the
studios, and everyone involved.

My years in television production have been very rewarding to me; professionally,

personally, and financially. On top of that, I truly enjoyed working on every show I
have been a part of. That is why I am so enthusiastic about this business.

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166
 GLOSSARY
Terms used in the TV industry

ACQUIRED CONTENT: TV shows that previously aired on one network are

then purchased by another network to broadcast.

ACT BREAKS: Places where a TV show is divided up to allow for commercials.

AGENCY PACKAGE: Talent agencies represent key people or companies

attached to a show. They receive a fee from the production for every episode.

ATTACHMENTS: Key people and companies to add to your project when

developing it.

BEAT SHEET: A bullet-point outline of a pilot or concept for a TV series.

BELOW THE LINE: Crew members that work on the production of a TV or film.

BIBLE: A document that details the extended plan for the series. It would include
all of the character descriptions, themes, tone, world and have episode ideas and/or
arcs for the characters.

BRAND: How a network is in the marketplace as evidenced by their choice of

programming, target audience, marketing focus, development objectives, etc.

BREAK THE STORY: A term used by writers on a show when they are fleshing
out the plot and character arcs for a series.

BUYERS LIST: A list of all the networks, including streaming outlets. A buyer is
any network who will pay for content to air.

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COLD CALL: A term used when you don’t know executives personally, but call
to see if you can get a meeting for your project.

COMPETITIVE DEVELOPMENT REPORT: A list of what projects the

networks are actively buying for development.

COVERAGE: A report that an agent, manager, producer or executive asks a

reader to put together on a script or book.

DEFICIT FINANCE: The amount of money it costs a studio to produce an

episode above the network’s license fee.

FIRST RUN: The first airing of a show on a network.

FLYER: When a network will take a risk with a particular project.

GREEN-LIGHT: When a project is moving into the production phase.

HIP-POCKETING CLIENTS: When an agent or manager does not formally

represent someone, but they are working with them on the side.

INDIE TV: When you receive independent financing to produce a pilot and/or a
season(s) of a show.

INTELLECTUAL PROPERTY (IP): Published or produced works. This would

include articles, books, comic books, graphic novels, someone’s life rights (past or
present), short stories, poems, blogs, past TV shows, foreign TV shows and
movies.

LICENSE FEE: A fee that networks pay studios, per episode, for the rights to air
their shows.

LOGLINE: One or two sentences describing what the TV series or movie is about.

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NOTES: These are thoughts that are given to writers about their material.

OPTION AGREEMENT: A contract where the person proposing for the

agreement/producer pays the rights upfront, and everything is negotiated before the
producer can attempt to sell it.

PACKAGE: All the people and organizations affiliated in any way to a project.

PAGE NOTES: Small thoughts on a specific page of a script.

PITCH: A verbal presentation of a project from the writers and producers to a

studio or network.

PITCH DOCUMENT: A blueprint for the pitch. Producers and writers use this as
a tool for preparing the pitch before going out to the networks.

POINTS: A legal term used in contracts regarding the sharing of profits on a

project.

PRIME TIME: Term used to describe when adults, ages 18-49, the most coveted
demographic, watch television. It’s TV viewing after dinner and before bedtime, or
from 8:00-10:00 p.m.

PROCEDURALS: Dramas (could be comedies as well) that have stand-alone

episodes. They do not need to be watched in order. Sometimes called franchises.

PUT-PILOT: Term used when an idea is sold and the network makes a
commitment to shoot the pilot before a script is written.

READERS: People who are paid to read a script or book and write a report on it,
similar to a book report. They can be a professional reader for hire, an assistant or a
lower level executive.

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REBOOT: An updated version of an old TV show or movie.

REVERSE ENGINEER: A strategy used to manipulate an idea to better

accommodate a particular market.

SERIALIZED: A series that has episodes which are connected and must be
watched in order.

SHOPPING AGREEMENT: A contract where there is no upfront cost for the

person proposing the agreement (the producer). This gives the producer the right to
try to sell the project for a specified amount of time.

SHOWRUNNER: The writing executive producer on a TV series. They are

responsible for everything from the writing to the production of the show.

SISTER STUDIO: A production company that is attached to a network.

SIZZLE REEL: A video presentation, or proof of concept, for the pitch of a

project.

SPEC SCRIPT: A pilot script written before being commissioned or paid. This is
a sample of a writer’s writing skills and voice.

STAFF WRITER: The entry-level position for a writer on a TV series.

STANDARDS AND PRACTICES: Rules networks must adhere to that control

the content of their shows.

STORY AREA: The first document presented after a script is commissioned by a

network. It consists of the general story of the pilot episode.

TEASER: The opening scene of a TV show.

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TREATMENT: This is usually the first document a writer presents that gives
details about his or her idea.

TV TALENT: The department in talent agencies that represent actors (as opposed
to the literary departments which represent writers and directors).

TV DEVELOPMENT: The department in networks, studios and production

companies that work with writers on ideas and strategies for TV shows.

WORLD: Where a TV show takes place, i.e., setting, location,

time period, etc.

WRITERS LIST: A list of potential writers that development executives and

producers put together for specific projects.

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 SPECIAL THANKS

I would like to thank Bobbi Michaels, Yvette Lowenthal-Mulderry, Jill

Karnick-Grill, Jill Cote, Stephanie Stein, Deb Weisberg, Karen Horwitz,
Nicole and Larry Seymour, Eric Balfour and Marty Berneman for all
their love and support over the years, it has meant the world to me.

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 ABOUT THE AUTHOR

Stephanie Varella is a partner in the independent production company,

TheNewEntertainment.com; the creator and instructor of “TV Development: From
Idea to Small Screen,” a class in the Entertainment Studies department at UCLA;
and a professional TV expert/consultant/owner of TVDevelopmentCoach.com.

As Vice President of Series Development and Production at Jerry Bruckheimer TV

and Development Executive at Spelling Entertainment, she developed and worked
on such hit TV shows as CSI, CSI: NY, CSI: MIAMI, Without a Trace, Cold Case,
Amazing Race, Charmed, 7th Heaven, Any Day Now and The New Love Boat.
Stephanie is in development, or has developed shows, with all the major studios
and broadcast/cable networks and is currently selling to the newer streaming
platforms. One of her shows in development is at Freeform (fka ABC Family) with
Warren Littlefield Co. and MGM.

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