Do You Want to Write a Pilot That Sells?

​The Simple Key to Successfully Writing for TV

​There is one, time-tested, simple method for learning how to write for TV. Are you ready? Got your phone out to take notes?

Watch. TV. 
Image by Vidmir Raic from Pixabay

That’s it, the only secret I know that two different Emmy Award-winning writers—Kevin Levine and Shonda Rhymes—swear by.

But I don’t mean crack open a bottle of chardonnay, relax in front of the biggest screen TV you can find and binge-watch until the bottle is empty. Nope, learning how to write great television requires active watching. Watch at least three episodes of the series you’d want to write for or create one just like it on DVR or on your computer, whatever your preferred platform. PAUSE the show to take notes.

Image by Dmitriy from Pixabay

​How many acts are there, how many scenes are in each act? What characters are in each scene and how many times do we see the main characters, as well as the sidekicks? What is the main story in every episode and how many side stories if it’s an episodic show you want to write. How many storylines are actively pursued in a serialized show? How many jokes on average if it’s a comedy? More insights into other aspects such as dialogue will become clearer as you continue to study.

Because while the number of scenes per act will vary from episode to episode, the number of acts won’t. But wait, you say, streamers and all the cool kids don’t have acts.  Granted, they don’t have commercial breaks, but they still have turning points to track and learn from.

Here’s the thing, voice is something I personally think you either have it or you don’t, but structure is definitely something you can learn. And because it is so easy to at least get an idea of a show’s structure and keep improving, as a reader I find it SUPER annoying when people get the simplest things wrong.

I recently read a spec script of an existing TV series that I happen to watch. Every episode has the case of the week as one storyline and some aspect of the character’s personal life is the other. As a viewer, I kind of watch for the cases, but mostly want to see how the main character will handle the family and/or love interest problem. And while this spec did a decent job of emulating the voice, they totally dropped the ball on the other half.

Side note: they also missed any opportunity to throw monkey wrenches in the case. The main character looked for a clue and found one that seamlessly led to the next and the resolution. In any story, whatever it is, be sure to keep adding complications and moving the goalpost. Otherwise, it’s way too easy and not at all engaging. Bonus tip!

Image by Romy from Pixabay

What are your thoughts? Interested in hearing them in the comments below. 

And remember, if you have a script you want some feedback on, just reach out!