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TV specs, on the other hand—both spec episodes and spec pilots—are generally used solely as calling cards. The ultimate aim is to get staffed on an existing show. The TV specs that do get bought, tend to be by writers who have a track record. Never say never, of course. Keep in mind that execs and producers are not really looking for that next big TV spec idea from aspiring writers. They do everything in-house. The odds of having an original pilot purchased and produced are astronomically high. Even less than selling a feature spec.
But having an original pilot is still important. An original pilot shows what you can do when it comes to creating fresh new worlds, marketable concepts, and original characters. Fresh voices are always sought after and always welcomed. As in the land of features, your voice and your view on the world is what makes you stand out on paper. So we advise writing a spec episode and a spec original pilot to show the breadth of your talents, and to give yourself the best possible chance of getting staffed on an existing show.
As someone looking to start a career writing TV show scripts, we also recommend creating a portfolio that tonally compliments itself. In other words, write an original spec pilot of a show that tonally and thematically explores the same areas as your spec episode of an existing show. Or on cable, i.
These channels are the homes of workhouse series that rarely veer too far from a relatively rigid format. While it might sound like this would make these series easier to write, the opposite is most often true, as finding a series that will function on the th episode in a fashion similar to its first episode is a taxing process. This medium naturally invites a more exciting degree of novelty as it allows the writer to branch out from traditional structure for both comedy and hour-long drama.
In this space, you can let your wildest creative impulses guide you in a more broad and expansive direction. Look at a series like Atlanta , or True Detective , or Insecure. They play around with audience expectation, giving us one-off episodes that follow secondary characters. On a more pragmatic level, cable shows offer more flexibility in terms of profanity, violence and on-screen sexuality. These series are often presented in a limited number of episodes, i. In other words, there are more creative liberties for you as a creator and, currently, there is also more opportunity in this space.
Overall, if you want to write this type of show, your choice of content is not so restricted.
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Procedurals—including shows about hospitals, police work and legal fields—tend to land on traditional TV. But if you want to go all out with zombies, sci-fi or any other genre, you will find endless creative freedom beyond the boundaries of network television.
Firstly, what TV shows do you absolutely love? And secondly, what genre are they? This may seem like a simple statement to make. So start by making a list of your favorite shows and then decide what one you want to write as a spec episode or emulate in a spec pilot. However, rather than write a list that contains both drama and comedy, pick one over the other.
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Deciding on a genre is about as elemental as it gets, but it will give your script its first embryonic shape. Do you want to write drama? If so, then your TV scripts should typically fall somewhere between 55 and 65 pages. If you want to write comedy TV show scripts, then they should be landing around the page mark, but these are by no means hard and fast rules.
For example, even though Frasier may be your favorite show of all time, once a show is over it becomes obsolete in terms of using it as a writing sample. Attempting to learn how to write a TV script without actually studying your chosen show, is a bit like trying to learn to play rock guitar without learning any Jimi Hendrix licks. Make it your mission to know whatever show you want to write or emulate, inside out.
Do this by following these steps:. You should also go to a screenplay download site, such as SimplyScripts or Script City and download as many episodes of your favorite show as you can and get reading.
Reading the real TV scripts of the series you want to write or emulate is probably the best way to learn how to write for TV. Simply, sit down with your laptop and type out what happens on screen in one or two sentences. Then break down the resulting document into sequences and acts. Whereas writing outlines is great for learning about structure, writing transcripts is great for dialogue and will really help you find the voice of your characters.
This will help make sure your script formatting is up to industry standard. Final Draft handily has the TV script formats for many of the most popular shows preloaded in its template database. Professional scriptwriting software will take most of the formatting heavy lifting out of your hands, leaving you to concentrate on what counts: the story and characters.
This is a minute show that may or may not contain commercial breaks. Multi-camera comedies represent the traditional way of filming sitcoms: in a studio, sometimes in front of a live audience, sometimes with a laughter track. Frasier and Last Man Standing are both examples of this format.