Scripted Projects
for Television -
(TV Movies, Mini-Series,
Drama Series, Sitcom)
When considering to
pitch a script or idea for a TV show that would
be scripted (Sitcom, Movie, Drama Series,
Mini-Series) its important to understand the
process that an executive or TV Producer
undertakes in getting a television show
produced. Knowing this process will help you
bring the most valuable elements within your
ability and resources to any Producer that would
consider purchasing your screenplay or
treatment.
Producing is a
largely collaborative process that requires a
broad ability to exercise and facilitate all
aspects of the industry. One must have the
sensibility and creative instinct of a writer
and director, while having a polarizing view of
material that you often find with Network
executives... and eventually the viewer. A
Producer will first focus on identifying or
creating material that falls within any mandate
given by any of their executive buyers at a
variety of Network of distribution outlets. That
material may come in the form of a hi-concept
short pitch, a spec screenplay, a manuscript or
novel for adaptation, a news article that will
become the subject of a story to be developed,
and treatments or synopsis' of original concepts
for development.
Before a Producer
brings their script to a network or studio,
there is a process of development and packaging
that may or may not come into play depending on
the property the producer is selling. If the
Producer has acquired the rights to a
bestselling autobiography, they may only need to
attach a top notch writer or star to the
property to make a sale to a network or studio
who will then finance the writing of the
screenplay and other elements leading to
production. However, the majority of producers
are seeking that next great idea that can
translate into a hit television show.
When scouting
screenplays and TV scripts for purchase and
development, a producer or development executive
is looking for that core creative idea that is
not only great in theory, but will be great in
reality and can be physically produced in a way
that brings true entertainment value. When a
great project is found, it may only be in
treatment form. That is, the creator has
detailed a brief, but descriptive outline of the
show, usually 2 pages or less for reality-based,
and 5 pages or less for scripted programming.
The show has a great title, a very marketable
logline, and a treatment that shows all of the
elements involved in the show as it plays out
with a great hook, twist, or payoff in the end.
The producer then
"options" the script from the creator/writer and
is entitled to the exclusive rights to sell the
story to a Network or Studio for production.
During that option period they will pull
together other key elements that may be required
for presentation to a buyer. This may involve
commissioning an established writer to write a
script adapted from the treatment, or finding a
show runner (Executive Producer/Writer) who the
buyer likes that will oversee the creative and
physical production of the show.
There may also be
on-air talent attached to the project such as a
Host or key principal who is appropriate for the
concept of the show and/or currently valuable in
the market place. They will also be monitoring
and strategizing the various outlets who may buy
the project while tailoring the package to fit
each. Keep in mind that an active production
company usually has in total 40 to 60 projects
in development at the company, all in various
stages; early development, pre-production,
production, turn-around from a studio, revised
for new packaging or set to pitch at a slate of
networks and studios.
The process is
long, but this illustrates the need for new and
original projects to fit an ever changing
mandate from the networks and advertisers.
In addition to
understanding the producer's role, every creator
should have in mind the basic fundamentals of
each scripted genre produced for television:
The situation comedy- A 30-minute format that
centers on a central group of characters living
together within a unique situation. A treatment
for a sitcom will include the premise of the
situation describing how the characters came
together, the circumstances that hold them
together, a description of that world, and an
outline of the characters describing their
specific agendas, attitudes, peculiar habits,
and how they relate to one another. A
bullet-point list of sample episodes described
in very short paragraph for each will illustrate
the story arc that a season will have, and prove
longevity for the series.
If you are a
skilled and/or established Writer, the best
sales tool for a sitcom is a sample script for
the pilot episode. This will be 22-24 page TV
script. If script writing isn't your forte, you
may consider finding a partner who has
experience in this area and will write the
script to become your partner in the project as
it sales.
TV Movies:
A 2-hour filmed program, usually focusing on
a current issue in society, or subject that is
highly marketable.
For the sake of
pitching a script to be developed as a TV Movie
the important factors are the following: A
strong protagonist involved in a dramatic story
that explores a theme, social issue, current (or
historical) event that would have the broad
appeal of a Network audience, or the very
specific taste of a cable network producing that
particular genre of story. Anything "brand"
oriented can find success if you are delivering
a unique angle to the story. "Brand" relates to
the subject of the story holding identity or
intrigue within the public conscience. The
writers job is to bring to light a perspective
on the subject that hasn't been told before, and
that is both entertaining and informative. The
most important marketing angle for a Television
film is that is fact-based.
The sub-genres
within the arena of TV Movies are as follows,
but not limited to: Suspense Thriller, Western,
Family Drama, Comedy, Coming-of-Age, True Crime,
Historical, Fantasy, Bio-pic or Drama based on
true events.
There are three key
elements that are very important to any
development executive or producer considering
your project; the story, the key character, and
the commercial viability of the project:
Event or Story
: There are always moments or dramatic
events in our lives that are so incredible one
could think "this should be a movie!". However,
one event does not make a dramatic story unto
itself, and many times a dramatic story does not
suit well for a televised or filmed adaptation.
However, such specific events can become the
focal point by which a larger dramatic story is
told that a producer or network may take an
interest in. How has that event changed
someone's life? What led to the event or events,
and what new course were the people or persons
involved set on? What is the point of social
relevance within this story? What does the main
character overcome or accomplish that brings
redemption or irony to their life? As you will
always see, it is never just about an event.
It's always about the person.
First, identify the
protagonist (Hero, or main character) from whose
point of view the story is told. This is perhaps
the most important choice when adapting a story
to be dramatized. It may not always be the most
obvious or centralized character when first
looking at the story that is being covered, but
it should be the most unique. And it is that
person's story arc that we will witness as the
movie unfolds.
What makes a unique protagonist?:
People love inspirational stories of the
underdog who survives against all odds. It more
often gives the viewer something to relate to
and root for. It is an example of a choice in
Protagonist that brings an emotional experience
to the audience.
When exploring the
development of a unique protagonist or main
character in your story, there are some very
important choices to make when illustrating this
person within a screenplay, and more
importantly, when giving limited information in
a three to seven page treatment that you will
submit to producers. If you look at all the
great character-driven pieces you will see that
what is explored in each protagonist is not just
the obvious, but sometimes the opposite. In a
hero, don't just focus on the great qualities,
but find his weaknesses and downfalls. This
gives him a human quality. Conversely, in a main
character who is primarily bad or of criminal
persuasion, find his qualities that are good and
explore his struggle within his poor choice
making in life . This helps an audience care or
sympathize with someone whose plight may be
clearly with ill intent, but brings truth to the
story by "humanizing it". Not everything or
person is black and white. To bring a three
dimensional illustration to any main character
of a story, one needs to approach that character
unassuming and ready to discover all sides of
the person and what makes them tick.
Commercial Viability: An important
aspect of any dramatized story is that audiences
love stories that are based on true events. The
important thing for any writer or producer to
understand in trying to sell a true life story
for adaptation is knowing or discovering what
issue or subject within the story has social
relevance at this time. These "issues" of social
relevance can be anything, eg. How a family
copes with a son or daughter fighting a war,
same sex couples fighting for adoption, or an
athlete who overcomes certain death by cancer
and survives to come back and win the most
grueling athletic event in the world. All of
these stories have issues that impact society
heavily or in a unique way. If you believe that
your personal story, or the story of a person
whose life you are writing into a treatment for
adaptation could have the same impact of
relevance it is important to find that key issue
and point of view that an audience will be
enthralled by. The audience wants an emotional
experience that they can relate to on some
level. Find that message in your story and you
may garner the attention of producers who want
to develop it into a movie or series.
Mini-Series:
Most Mini-Series are based on historical
events or biographical narratives that take
place within a unique time period. The Old West,
Ancient Rome, 18th century America or even the
Far East. However, there is a great spectrum of
stories that have been adapted into "two-part"
mini-series that can be classified as "Fantasy"
and "Holiday" event programs. Some are based on
best-selling literary properties, and some are
original screenplays.
If you do not hold
the rights to a novel for adaptation, or a fully
developed screenplay that is ripe for adaptation
as a mini-series, the best approach is to pitch
the story in treatment form. A producer who
believes that is holds value for development
will make a deal on the story and then hire a
writer to pen the script, or sell the project to
a network who will then package that project
with appropriate writers and producers. Again,
the key for the creator is STORY. Build a unique
narrative that has wide public appeal and may
fall within the current mandates of production
companies and networks.
Drama Series:
Similar to the sitcom, but a
world apart in terms of story and content, the
dramatic series is built heavily on strong main
characters that live and work together within a
specific situation. When considering creating a
dramatic series, concentrate heavily on
character development and the direction of story
development that would evolve over the course of
a season (22 episodes). Having a written pilot
script is critical for garnering the attention
of producers who would be able to package the
project for development so that it would be
presentable to a network. This is the arena for
serious writers who are willing to break down
preexisting genres to find new areas of story,
and develop three-dimensional characters that
are strong enough to support an ever changing
and evolving story line.
It's also worth
mentioning that some Made-for-TV-Movies are
"back-doors" to a pilot for series. Meaning, it
is possible that a drama series be developed
from a movie. So consider cross-development if
you feel it has the wheels.
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