The hard work is done. The idea is no longer just a daydream in your head. This is on paper. There is a cure. Your story really touched someone. Next comes the part that most people procrastinate on: getting your voice to the decision makers.
If you’re already in the bubble, it’s easy. The show is a work in progress. You write to others. I know who to call. It could be a quick email or a coffee chat with someone who has the ability to say yes.
Intrusion from outside? It’s a different beast.
The Internet doesn’t just open doors for everyone. They are not looking for raw talent without screening. They want security. They want evidence. Comedy Central might step up and give a new voice, but it’s a rare exception. Others need a gatekeeper. You need an agent. manager. Entertainment lawyer. Or you can take the risk of a production company.
Get a representative
Agents and managers are traditional routes. But don’t expect to seal the deal just because you have a good story. They work for famous authors. They wanted records.
Financial splits are standard payments in the industry. The broker gets 10% of your income. Directors get 15 percent. Both are well connected. Both can open doors that have been welded shut. Especially if you’re looking for an agent for writers, the Writers Guild of America maintains a membership directory. Use these lists. These are just a starting point and not a guarantee.
Entertainment lawyers work in similar fields. They know the players very well. They know the deal. They know the traps. Prices vary greatly depending on reputation and negotiation skills. But they can bridge the gap between your manuscript and the people who buy it.
Production company route
Manufacturing companies are also a big entry point. These are the entities that develop the project. Some have dozens of shows in development at any given time. More than 50. They are in various stages of the script, pre-production, shooting or preparing to hold in the studio.
Trading usually goes like this. The production company will pay you a small fee. This allows them to watch your presentation for a certain amount of time. they went shopping. They brought it online.
If the sale fails, you get the rights. You hold on to that thought. It’s yours again.
If you sell it, you will get a lot of money. The production is currently owned by the production company. But you can’t go home empty-handed. You are negotiating a loan. Producer credit. The authors. This is important. You can agree on a fixed price per episode or weekly production. Turn your idea into a salary that lasts after your first sale.
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No matter which path you choose, the end goal is the same. Meeting with the network manager.
These meetings are not long. It’s less than an hour. You have 10 minutes. Maybe even less.
You have to sell the concept with passion. Must be energetic. It has to be convincing. It’s coming to the stadium.
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How to Pitch a TV Show: The 10-Minute Grind
The setup is simple enough on paper. Maybe a friend in the industry is pulling the strings. Maybe you landed a top agent who will talk to a programming executive at CBS for 15 minutes. Perhaps you’ve finally cracked the door to Comedy Central. Now you are ready to sit across from the decision maker and present your new TV series concept. This is the pitch.
This is not a lecture. It is a high-stakes verbal sprint.
You have about 10 minutes. Maybe even less. Network executives are drowning in material, and time is a resource they refuse to share. The math is brutal. Major broadcast networks plan to buy 25 comedy scripts during development, according to a recent industry analysis by Variety. They will shoot 12 pilots based on that script. Out of these 12, only 2 will be selected to order the entire series. The odds are not just steep; they are punishing. You cannot afford to waste a second of that clock.
Preparation is not optional. This is survival.
Before entering a room, you need to understand the surrounding landscape. You need to know which network matches your voice. Pitching a show about exotic dancers baking cupcakes for ESPN is guaranteed to be a one-way trip to the parking lot. You need to understand the demographics. Who watches their content? What is their tone? The best way to measure this is to reading the trades. If you don’t read Variety and The Hollywood Reporter several times a week, you’re flying blind. The contract was announced on Tuesday and is scheduled to expire on Thursday. Add the business sections of The New York Times and Entertainment Weekly to your daily routine. You need to know who is hiring, who is letting people go, and what the market really wants right now.
The Four Pillars of a Successful Pitch
The goal here is verbal compression. You have spent weeks or months fleshing out a treatment or a script over several weeks or months. Now you have to strip it down to its essence. It doesn’t sum up the whole plot. You are outlining the hook to get them to pick up your script. You are buying yourself a second meeting.
In her book The TV Writer’s Workbook, veteran writer Ellen Sandler, who has worked at CBS and NBC, breaks down this down into four essential components If you miss these, you miss the mark.
- The Setup: Where are we? Who are these people? Get them grounded in five seconds or less.
- The Want and The Wall: What does your protagonist desperately want? Who or what is stopping them?
- ** The Stakes and The Turn:** What happens if they fail? You need risk. Ideally, include two turning points that show the arc of the conflict.
- Reason: Why are you telling this story? Why now?
This is your elevator pitch on steroids. It needs to be tight. It needs to be clear.
Practice Until It Feels Like You
Please do not read the comments when you are actually sharing this content. Don’t memorize the script word for word. I don’t remember passion. Networking covers more than just a concept. They will buy you. They buy your beliefs. They buy your potential.
Think of it as a job interview. It’s faster though. The average lift trip is longer. This meeting was brief. First impressions are everything.
Please dress appropriately. Athleisure suits you best. You want to appear professional but approachable without appearing to be trying too hard. Be polite. Thanks for your time. Even if they criticize your idea, accept it. Don’t get defensive. Don’t oversell. You are not a used car salesman. You are a creative partner. be yourself. If you’re nervous, show it. Authenticity always beats perfection.
If you make it through those 10 minutes and they say, “Send me a pilot,” congratulations. The first hurdle has been cleared. This is where we start the actual production work. Next, let’s take a closer look at the operation of television production. Until then, keep writing. Continue reading the agreement. And keep your eyes open.
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More attractive links
- broadcaster.com
- Authors Guild of America Western Registry
- Warner Bros. Television Writing Workshop
Leave
- ABC.com. http://www.abc.com
- Comedy Central. http://www.comedycentral.com
- Cook, Matty. “Writing for Television: Out of Your Head and onto the Screen.” Focus Press, 2007.
- Epstein, Alex. “Smart Lighting for TV: Thinking Inside the Box.” Pöllökirjat, 2006.
-Feiner, Abby, and Deborah Perlman. “Starting Your Television Writing Career: A Guide to the Warner Bros. Television Script Workshop,” Syracuse University Press, 2004. - Internet Movie Database. http://imdb.com
- NBC.com. http://www.nbc.com
- Sandler, Allen. The Television Writer’s Workbook: A Creative Approach to Television Writing, Bantam Dale, 2007.
