![]() What are at least 3 – 4 more episode ideas? Typically, we don’t do this in our pitches, because we feel that in talking about the season arcs (see below) we are giving a general idea of possible episodes. Some TV writers argue that it should only take up half a page because you’re not selling your pilot, you’re selling your entire TV series. You want to try to keep this to a page or page and a half. Sometimes a show has a lot of set up and it will make sense to pitch part of the pilot especially if it’s a premise pilot. But you need to know what your pilot story is. For Drama do not pitch beat by beat or act by act, but rather tell the overview of the story and hit the core structural beats/plot points and character turns in broad strokes.įor Comedy, generally speaking, you don’t pitch your pilot story. The pilot should feel like a typical episode rather than a prelude. Alternatively, you may be introducing your characters in the old world and getting them into a new one. You might be giving us a big moment of mystery at the top of the series. How you execute them will also depend on whether you are writing a premise pilot in your series. Some teasers are long and others are short. Pitch a teaser for drama or cold open for comedy, that clearly and concisely sets up your conceit (background and assumptions). ![]() ![]() These can come out in various places – character description, the teaser, the pilot, and the season arcs. Tell us about the love triangles, the betrayals, the secrets, and the rivalries. We need to know how each character relates to the other and what their points of view are about each other. You also need to give the buyer a clear picture of the character dynamics. You have to paint a clear picture but drill it all down into a short, distilled paragraph that gets to the core of who your characters are.Īnother way to introduce characters is within the pilot story section. Clearly define each character and how they interact with the main character and the theme. Don’t list more than seven or it gets confusing. List your characters in order of importance. And she’s trying to find out who is responsible for her husband’s death, so justice is served - GOAL. She’s also forgiving - All REDEEMABLE TRAITS. But she’s a great mom and would do anything for her kids. She’s also extremely lonely, but insists on doing everything herself because she has trust and control issues - OTHER THINGS THAT NEED FIXING. The bolded ones are active flaws where we can see these flaws manifest in behavior that affects others. She pushes people away, she drinks too much, has rage problems, and doesn’t know how to ask for help - FLAWS. Her CORE WOUND is that her husband was killed after they got into a fight and she feels like it was her fault.Ĭhristina Applegate (Jen Harding) in Dead To Me (Photo courtesy of Netflix) What are my Main Character’s redeemable traits? What is my Main Character’s goal? Can you answer those questions for all your characters? ![]() What is my Main Character’s current stage of life at the start of the pilot? What is my Main Character’s core wound that drives them? What is my Main Character’s main flaw? What are 2 – 4 other things about my character that might need fixing? So, who are we rooted in and invested in week to week? These are the things to ask yourself when building out the characters of your TV series: We watch TV shows for character, not plot. How To Craft A TV Series Pitch (Part 2)ĭuring part one of this series on pitching, we covered the overall feel of your TV show in broad strokes – the format, the theme, and the overall structure of the season. Here is the final part of our series on pitching your TV show covering more specific details: Who are your MAIN CHARACTERS?.How To Craft A TV Series Pitch (Part 1).
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