TV Development Guide

  what different buyers are looking for, and anything else that might

  help their client’s idea have a better chance of selling to a particu-

  lar 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

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  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 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 at-

  tach 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,

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  that would surely work in your favor.

  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 origi-

  nates from a book or an IP. The agent will put the book, or IP to-

  gether 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 relation-

  ships. You could start out by working at a studio or on a produc-

  tion. 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 peo-

  ple 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 Sopra-

  nos 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 de-

  velop 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 re-

  lated companies are going to have a better chance of being suc-

  cessfully produced. Therefore, if you believe your project is per-

  fect 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, di-

  rector, 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 advanta-

  geous 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 b
e changed. They would be well-ad-

  vised 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 impor-

  tant 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 writ-

  ing! 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 re-

  silient. 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 necessari-

  ly considered a great TV show. A great TV show is one that be-

  comes 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 mon-

  ey. 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 (do-

  mestically and internationally). This will give you the most profit.

  Keep in mind that producing a television show is extremely ex-

  pensive. It is not easy for most of us to find someone who is will-

  ing 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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  Act 4

  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 hope-

  fully 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 tech-

  nology 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 prof-

  itability. If your show is making money, it will have a much better

  chance of staying on the air.

  *****

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  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 audi-

  ence 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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  Act 5

  “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 acknowl-

  edging the fact that television, like all enter-

  tainment, 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 can-

  celed, 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 be-

  cause 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 televi-

  sion 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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  Act 5

  This is an interesting placement for Fox, con-

  sidering they only have to schedule program-

  ming 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 sta-

  tistics, 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, televi-

  sion’s leading premier rating service.

  “Today's (2017) media landscape is ever chang-

  ing, 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 televi-

  sion—which are the three platforms of content

  distribution and discovery for the average con-

  sumer. And these devices have become a con-

  stant companion to over 200 million consumers

  in the U.S. and this personalized entertainment

  is always at their fingertips.

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  Act 5

  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

  multimedia 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 din-

  ner.

  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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  Act 5

  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, socializ-

  ing, 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 occu-