pitching process
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How Writing a TV Show WorksbyWinifred Fordham Metz
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1. How Writing a TV Show Works2. Television Show Characters and Treatments3. Television Show Loglines4. Lots More Information5. See all TV Shows articles
Television Show Characters and Treatments
Great concepts transform into great shows when the story is engaging and unique.
Often, what makes the story engaging and unique are its characters. Typically, moststories have four central characters: thehero, the anti-hero, the love interest andthe buddy. Think of"Scooby-Doo," "Buffy the Vampire Slayer," "Will & Grace,""Heroes," "My Name is Earl" and even "The Price is Right." They all have these fourcentral characters or at least build on this template. In some cases, the peripheralcharacters are so well drawn that they end up becoming central characters. Someexamples are: the Fonz ("Happy Days"), my brother Darryl and my other brother Darryl("Newhart") and Mr. Big ("Sex and the City"). In short, well written, quirky, lovable andultimately believable characters keep people watching ashow.In addition to these four main characters, most stories
follow a basic scenario -- usually something is desired orneeded, obstacle prevents it, hero prevails and gainsinsight. Because it is extremely important to immediatelycapture the reader's (and potential viewers') attention,you'll want to present the conflict right away. Andremember -- the story should be well structured, with aclearly defined beginning, middle and end.
After you've identified the central characters, you'll need toassign some type ofplotline. A plotline is essentially themain action of the story -- why the characters exist andwhy folks would want to watch them. A good example can
be found in "My Name is Earl." In the very first episode,the plotline was presented as a teaser, a short, funny bitshown just before the theme song and title of the show.The audience was introduced to Earl, a petty thief who gets run over by a carandbecomes convinced that karma is at play in his life. So he makes a list of hiswrongdoings and sets out to reverse his karma by making things right, one person at atime. All of this was effectively conveyed to the audience in a scant few minutes beforethe show's opening credits.
NBCPhoto/Chris HastonEarl, Randy and Joy on"My Name is Earl" -- a
winning combo
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To push the concept forward, you'll need to put it together in a readable or tellableversion. You can do this in several ways. One such way is by writing a script. A script isa fully fleshed-out narrative that includes detailed character development, descriptionsof the environment and physical direction for the characters. It is written in a specificformat to include scenes, movement and dialogue.
While a script is a detailed account of the story, including character development anddialogue, a treatment is a descriptive outline of the show's concept. A treatment isusually very brief, often fewer than five pages for a 30-minute sitcom or hour-longdrama. It highlights an interesting hook (something that grabs attention), a great plottwist (an unexpected turn in the story line) and a big payoffat the end (a cliffhanger or"aha" moment that makes viewers want to watch the next episode). Many networksprefer a treatment to a script because it might give the network an opportunity to havemore control over the idea. A big part of a successful treatment is a great title. It shouldcatch your attention, make you wonder what the show is about and make you want towatch it. Think "Pushing Daisies," "Desperate Housewives" and "Sex and the City."Next, you're going to need to condense the concept even more, into a logline.
Television Show Loglines
Now that the concept is on paper, you'll need a logline to make it ready to present to anetwork. A logline is a one- or two-line synopsis of the concept. It is an essential part ofpresenting or marketing your idea to the networks and is typically used in tandem withthe treatment or script.
NBC Television/Fotos International/Getty ImagesThe original core cast of "Cheers," one of the
longest-running sitcoms in TV history
The act of composing a logline forces you to condense your thoughts to the bareessentials of what the show is about and why folks will want to watch it. It also allowsyou to focus on the hook or plot twist. Successful loglines immediately provoke interest
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and make the network executives envision the show's potential. If they see potential,odds are they will consider it for development.Many TV execs consider the logline to be the most important element of thedevelopment process, and the network often uses some version of it for marketing. Inthat respect, loglines are considered to be similar to the description of a show you would
find in TV Guide.TheTV Writers Vaultoffers these examples of possible loglines for "The Bachelor" and"American Idol":
"Twenty women will court and compete to win the affections of one man who willnarrow the selection until he must decide on his one true love."
"Aspiring singers will compete in a nationwide talent search on live televisionwhere they will face the often unfair scrutiny and sarcasm of a panel of judgesbefore one is finally branded the 'American Idol,' receiving a recording contract."
Once you have put all of this together (after many rewrites and read-throughs), you'llneed to protect your concept, script or treatment. Most people register it with
theWriter's Guild of America, West Registry.When you're sure everything is pitch-perfect, it's time to try to sell your idea to anetwork. We'll learn all about that process in an upcoming article. For more informationabout writing aTVshow, check out the links on the next page.
http://electronics.howstuffworks.com/tv-writing3.htm
WHAT IS A TREATMENT?
A treatment is essentially a breakdown of your movie that
runs anywhere from a page or two to twenty pages (or even
more, depending on the density of the script). A treatment
is a blueprint for a screenplay. In essences a treatment is
a Short Story.
The story is told in detail stage-by-stage as it unfolds.
This does everything that a synopsis and an outline do and
a lot more. It reveals the full story and its structure,
and shows the main and secondary characters their
personalities, relationships, and how they change and
develop.
Treatments have different functions: a writer may compose a
highly detailed treatment in preparation for the first
draft, but this will have to be scaled down to meet
requirements of busy producers and development execs...
ideal length: 6 to 12 pages.
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HOW DO I WRITE A TREATMENT?
Recommended fonts: Courier 12-point OR Times New Roman 12-
point. Title: Centred and emboldened. Log line (if appropriate): Centred beneath title. Tense: Always present tense. Dialogue: None, except if you wish to give key phrases to
characters to bring them alive and highlight their
philosophy so as to take on life and/or to use sparingly to
break up dense prose. Style: Concise, vivid, evocative; active verbs; avoid
adverbs where possible; keep the text simple and visual.
AVOID: strings of adjectives, reported speech, flowery
metaphors, abstract language, heavy chunks of exposition,
camera directions. Length: Treatments vary enormously in length 6 to 12 pages
is normal, but writers may develop a much more detailed
treatment up to 40 to 50 pages for their own benefits. For
the industry shorter is preferred certainly as an initial
selling document. Ratio: If your script is 100 pages and your treatment is 10
pages, then 1 page of treatment = 10 pages/minutes of
script. Keep to this proportion as a guide. Rewrite-Rewrite-Rewrite: As with your script, you need to
do a number of drafts of your treatment. With each draft
concentrate on cutting away all unnecessary detail andmaking the story as vivid and engaging as possible. LESS is
MORE!
WHY DO I NEED A TREATMENT?
Initially, as a device for the writer to organize their
thoughts and develop the texture of a script. Later, as a selling document used to sell your story to a
producer and/or agent, which is a treatments major
function.
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How To: Write an oversimplified Treatment
May 25, 2008 Print This ArticleStep One: Create an outline of your story, highlighting the most crucial elements.
Introduce the main characters, plot, climax and conclusion. Do not leave out the ending,as the reader will need to know the entire story.Step Two: Write a your first draft of the treatment from this outline in first or third-person. Worry more about explaining the story at this point rather than word count orlength. You can whittle it down later. However, do try to keep it at a manageable level.Step Three: Edit the first draft by removing any unnecessary sentences, flowerylanguage, adjectives, adverbs, etc. If it isnt pertinent to the progress of explaining thestory to the reader, remove it. The editor or producer is pressed for time, and are morelikely to read shorter treatments than longer ones.Step Four: Set the treatment down for a day and then read it with fresh eyes. Again,remove any unnecessary flowery language, adjectives, adverbs and so on. Get to the
meat of the story.Step Five: Research a market for your story using online resources orwritersmagazinesand books. Send them the treatment in a 9 x 12 manila envelopeso as not to fold the treatment. Also include a cover letter and a self-addressed stampedenvelope for the reply.Step Six: Registeryour treatment with the Writers Guild of America. It costs $20 andwill protect your story from being unlawfully copied or otherwise stolen.
Writing for Televisiono The first and most common way to get your pitch heard is to get into the
business. Direct experience is a good teacher and will help prove to television
executives that you know what you are talking about. After all, would you want to
havesurgerydone by a doctor who has only watched one or by a doctor who has years
of experience? Here are a couple of examples of TV and film writers going on to create
their own shows:2. Lostwas created byJ.J. Abrams, Jeffrey Lieber andDamon Lindelof. Abrams
started out as ascreenwriter in 1990and has since moved on toproduce and directseveral movies and television shows.2
3. Heroeswas created by Tom Kring, whohad been writing for television since
1982and created the showCrossing Jordan.3
Other Paths
o It is possible,although rare, to sell a TV show without experience in
television.4 However, you will need some experience in some another field or be willing
to do your own leg work. A few examples on how this has happened:1. Larry Brody used his own money tomake a pilot.
4If you were to follow in his
footsteps, you would then need to hit up syndication houses and networks or set up
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a booth at aNATPE conference.5 However, this could backfire andend up costingyou a lot of money with nothing to show for it.
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2. In a similar case,Mark Burnettbargained with a film crew and local televisionstationto get his first show created. He then took the show toESPN with the caveatthat they could air it as long as he got 50 percent of the money from the
commercials.
7
3. Marta KaufmanandDavid Crane, the creators ofFriends, were playwrights withanexcellent agent who helped them land the right meetings, which got their firstshow, Dream On, on the air.
8
4. Andy Milonakisused a webcam to create his own shows, which heposted on theInternet.9Although it took several years, he eventually got his own TV show.
5. W. Bruce Cameron wrote the bestselling book8 Simple Rules...for Dating MyTeenage Daughter, which waseventually optioned by ABC and made into thetelevision show by the same name.8
Step 2: Get a Great Idea
o Chances are you probably came to this page with an idea already formed in your head.
However, this section is not about having an idea. It is about finding that greatidea.Here are some tips on how to make your idea better.1. According to Larry Brody, one of the biggest mistakes aspiring writers can make is
towrite something which they do not believe in, but think will sell well .10
2. Check to seeif your idea has been done before.
11
3. Check to see ifyour idea is currently being done.124. Research theclimates and trendsby reading trade publications and connecting with
other industry sources.11
Some of the various trade publications include:
Fade In Magazine
The Hollywood
Reporter
Production Weekly
Script Magazine
TV Tracker.com
Variety Magazine
Written By
The Futon Critic
Step 3: Write a Pitch Bible
o Once you have your unique and creative idea, it is time to write a pitch bible. A pitch
bible combines various elements that help define yourtelevision show. Often it is what
you will use to sell the idea to agents ortelevisionproducers, so it needs to be done
well. It is also a great way toorganize and develop your concept.13 You will sometimes
see a pitch bible called a "pitch book" or a "treatment."o There are various things you can include in a pitch bible. Most of them will depend on
what type of show you are pitching (animated, drama, sitcom, reality, etc.). However all
pitches will include three very important elements: the logline, synopsis and treatment. Logline
o A logline is a one-sentence description of your idea. If someone asked you what the
show was about, what would be your quick answer?2. Examples of loglines can be found in fall preview guides or online.
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televisionhttp://www.mahalo.com/category/televisionhttp://www.mahalo.com/category/televisionhttp://www.writingtreatments.com/html/home.htmlhttp://www.writingtreatments.com/html/home.htmlhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-13http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-13http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-13http://www.writingtreatments.com/html/home.htmlhttp://www.mahalo.com/category/televisionhttp://www.mahalo.com/category/television-showshttp://www.thefutoncritic.com/http://www.wga.org/writtenby/writtenby.aspxhttp://www.variety.com/http://www.tvtracker.com/http://www.scriptmag.com/http://www.productionweekly.com/http://www.hollywoodreporter.com/http://www.hollywoodreporter.com/http://www.fadeinmag.com/http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-11http://www.natpe.org/industryinfo/breakingin/pitchtips/http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-12http://msrtv.weblogswork.com/2008/05/so-you-still-want-to-produce-your-own-reality-television-series/http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-11http://www.natpe.org/industryinfo/breakingin/pitchtips/http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-10http://www.finaldraft.com/writers-resources/tips-and-articles/larry-brody-24.phphttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-8http://www.absolutewrite.com/screenwriting/Allen/last_advice.htmhttp://www.absolutewrite.com/screenwriting/Allen/last_advice.htmhttp://www.mahalo.com/8-simple-ruleshttp://www.mahalo.com/8-simple-ruleshttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-9http://www.canada.com/calgaryherald/news/entertainment/story.html?id=ca78cc35-158b-4911-8666-4b0f999d7778http://www.canada.com/calgaryherald/news/entertainment/story.html?id=ca78cc35-158b-4911-8666-4b0f999d7778http://www.mahalo.com/andy-milonakishttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-8http://www.absolutewrite.com/screenwriting/Allen/last_advice.htmhttp://www.mahalo.com/friendshttp://www.mahalo.com/david-cranehttp://www.mahalo.com/marta-kaufmanhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-7http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1000518943http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1000518943http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1000518943http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1000518943http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id=1000518943http://www.mahalo.com/mark-burnetthttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-6http://johnaugust.com/archives/2003/television-ideashttp://johnaugust.com/archives/2003/television-ideashttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-5http://www.natpe.org/conference/ 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7/30/2019 Pitching Process
7/24
3. Television executives usually consider the logline tobe the most important elementsince it is often used later during marketing.
14
4. It is a good idea towrite a dozen loglines and read them to other peopleto get theirreactions.15
5. Do not includedetails of your script in the logline.15 Put them in the synopsis and
treatment.Synopsis
o A synopsis is a brief summary of show in a few paragraphs.1. It shouldintroduce the major characters and major elements of the show (theme,
tone etc.).16
2. It can be any where fromone-half to two pages and should contain little or no
dialogue.17Treatment
o The treatment is more inclusive than the synopsis. It should describe all the major
elements of the script includingkey scenes, major characters, overall storyline, plot,
themes and genre of the show.18
1. A treatment issimilar in form and style to a synopsis, but more detailed.17
2. A treatment is usuallyonly about five pages long or less for an hour-long show.
14
3. Although you want to be brief, you need togive enough information that the readeris interested in the show.19
4. Treatments are often done inshort story format.205. Expect to doseveral revisions of your treatment.
13Each time make it more
condensed and add more vivid language.6. A series treatment shouldfocus on selling the characters, relationships and the
format of the stories that will be playing each week. It is not abouttelling or selling astory.
21
Other Elements
o Here are some other elements you may want to include in your pitch bible. You shouldinclude anything thatwill help sell the show.
16If it won't help sell the show, don't include
it.1. Character Descriptions: A description of major and reoccurring characters. It
should include such information as theirphysical characteristics, personalities andhow they interact with other characters.
18
2. Concept Art or Images:Any drawings, illustrations or imagesthat will help bringthe story's characters and environment to life.18
3. Episode Synopsis or Story Springboards: A description of theplots of individualepisodes that come from the original concept.
18Each synopsis should have a
beginning, middle and an end.
4. Premise or High Concept: The premise is thefoundation that explores theestablishment, conflict and resolution of the story while supporting the story and thecharacters.
18
Pitch Bible Tips0. Register your treatment with theWriters Guild of America.22 This willcost you about
twenty dollars.23
1. Do not include your resume or asample script in your pitch bible.162. Place yourtrademark or WGA number on every page.18
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7/30/2019 Pitching Process
8/24
3. Have your pitch bookbound.184. Don't forget toinclude your contact information.
18
Examples
o The following are locations you can find examples of some of the elements listed
above:
1. Done Deal Pro:Treatment|Coverage and Synopsis2. johnaugust.com:Library3. InkTip.comSuccessful Loglines and Synopses4. Stormforce Pictures:Writing a Treatment for Script / Screenplay5. Writer's Digest:Does Your Screenplay Need a Treatment or a Synopsis?(June 30,
2008)Step 4: Setting up the Meeting
o Now that you have created the perfect pitch for your show, all you need is someone to
pitch it to. Sounds simple, but in truth it is probably the hardest step. Luckily, there are a
few different methods that you can try. Here are the most popular:
o 1.Write a query letterand send it to producers and managers.24
1. This can be done bypost or through email.25
2. You will be most likely be requiredto sign a submission agreementbefore they will
read your material.26
3. For address of major production houses, check out:
1. New York 411.
2. LA 411.
3. Hollywood Creative Directory.
o 2.Get an agent.27
1. Some peopleadvise againstthis method if you're a newcomer to the industry.28
2. For a list of agents, check out:
Writers Guild of America, West:Agency List.
Writers Guild of America, East:Agency List.o 3. Attend a pitchfest. Some of the most popular pitchfests include:
Great American PitchFest.
American Screenwriters Association:International Screenwriters Conference.
Final Draft:Take A Meeting.
Fade In Online:Hollywood Pitch Festival.
Step 5: Preparing and Delivering Your Pitch
o Your pitch is your oral presentation that you give to people you want to read your pitch
bible. It is where you become a living, breathing commercial for your TV showand itcan make or break your chances. Here are some tips to ensure you pitch is perfect:1. Know your material.
29You should know your characters better than you know your
friends. Plus, youdon't want to read itto them.30 You want to present it.2. Dress and act professionally.30Arrive at least 15 minutesbefore the meeting.263. Bring extra copies of your treatment and other materials.
26You never know who will
be in the meeting with you.
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4. Beupbeat, positiveandpassionateabout your idea.26 29 If you are notenthusiasticabout the show, they won't be either.
31
5. Use creative props, but only if they help illustrate your idea.26
6. Rehearse your material so it isconcise and clear.29 Usevivid imagery whenever
possible.32
7. Be polite and don't forget tothank them for their time.
33
Bereceptive to commentsand take criticismgracefully.298. Create a "beat sheet" (or crib sheet)that touches on the main points of your pitch to
help you get things down before presenting your pitch.34
9. Try toget your audience involvedin your presentation.35 Know who you are pitching
toandtry to connect themto the show you are selling.29 3510. Don'toversell.
36This is not an infomercial, and you don't want to appear desperate.
Conclusion
o Creating your ownTV showand seeing it get on the air might seem like an impossible
task, but making the impossible come to life seems to be the living definition
ofHollywoodthat and making dreams come true. While it can be a difficult and
frustrating at times, with a little skill, a lot of luck and perseverance anything canhappen (just remember to thankMahalowhen you win yourEmmy).
How to Create an Animated TV Series
Bytedpedersen, eHow Contributor
Create an Animated TV Series
The creation and development of an animated TV series is almost the same as for a live
action series, with a few differences. Many cartoon shows are targeted at children,
although increasingly they also appeal to those who read comic books or graphic
novels. Keep all this in mind when preparing a package to sell a new animated series.Difficulty: Moderate
Instructions
1. 1
http://www.soyouwanna.com/site/syws/tvpitch/tvpitch.htmlhttp://www.soyouwanna.com/site/syws/tvpitch/tvpitch.htmlhttp://www.soyouwanna.com/site/syws/tvpitch/tvpitch.htmlhttp://mag.awn.com/index.php?article_no=2336http://mag.awn.com/index.php?article_no=2336http://mag.awn.com/index.php?article_no=2336http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-26http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-26http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-26http://www.inktip.com/tips-pjsmith.phphttp://www.inktip.com/tips-pjsmith.phphttp://www.inktip.com/tips-pjsmith.phphttp://www.inktip.com/tips-pjsmith.phphttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-31http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-31http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-31http://www.soyouwanna.com/site/syws/tvpitch/tvpitch.htmlhttp://www.soyouwanna.com/site/syws/tvpitch/tvpitch.htmlhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-26http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-26http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-26http://mag.awn.com/index.php?article_no=2336http://mag.awn.com/index.php?article_no=2336http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.absolutewrite.com/screenwriting/short_pitch.htmhttp://www.absolutewrite.com/screenwriting/short_pitch.htmhttp://www.absolutewrite.com/screenwriting/short_pitch.htmhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-32http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-32http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-32http://entertainment.howstuffworks.com/tv-pitching.htmhttp://entertainment.howstuffworks.com/tv-pitching.htmhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-33http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-33http://mag.awn.com/index.php?article_no=2336http://mag.awn.com/index.php?article_no=2336http://mag.awn.com/index.php?article_no=2336http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.absolutewrite.com/screenwriting/hot_topic.htmhttp://www.absolutewrite.com/screenwriting/hot_topic.htmhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-34http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-34http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-34http://www.inktip.com/tips-dc.phphttp://www.inktip.com/tips-dc.phphttp://www.inktip.com/tips-dc.phphttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-35http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-35http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-35http://mag.awn.com/index.php?article_no=2336http://mag.awn.com/index.php?article_no=2336http://www.inktip.com/tips-dc.phphttp://www.inktip.com/tips-dc.phphttp://www.inktip.com/tips-dc.phphttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.scriptologist.com/Magazine/Tips/Pitch/pitch.htmlhttp://www.scriptologist.com/Magazine/Tips/Pitch/pitch.htmlhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-36http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-36http://www.mahalo.com/category/televisionhttp://www.mahalo.com/category/televisionhttp://www.mahalo.com/category/televisionhttp://www.mahalo.com/hollywoodhttp://www.mahalo.com/hollywoodhttp://www.mahalo.com/mahalohttp://www.mahalo.com/mahalohttp://www.mahalo.com/mahalohttp://www.mahalo.com/emmy-awardshttp://www.mahalo.com/emmy-awardshttp://www.mahalo.com/emmy-awardshttp://www.ehow.com/members/tedpedersen.htmlhttp://www.ehow.com/members/tedpedersen.htmlhttp://www.ehow.com/members/tedpedersen.htmlhttp://i.ehow.com/images/a02/26/vv/animated-tv-series-800X800.jpghttp://www.ehow.com/members/tedpedersen.htmlhttp://www.mahalo.com/emmy-awardshttp://www.mahalo.com/mahalohttp://www.mahalo.com/hollywoodhttp://www.mahalo.com/category/televisionhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-36http://www.scriptologist.com/Magazine/Tips/Pitch/pitch.htmlhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://www.inktip.com/tips-dc.phphttp://mag.awn.com/index.php?article_no=2336http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-35http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-35http://www.inktip.com/tips-dc.phphttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-34http://www.absolutewrite.com/screenwriting/hot_topic.htmhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-29http://mag.awn.com/index.php?article_no=2336http://mag.awn.com/index.php?article_no=2336http://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-33http://entertainment.howstuffworks.com/tv-pitching.htmhttp://www.mahalo.com/how-to-pitch-a-tv-show#cite_note-32http://www.absolutewrite.com/screenwriting/short_pitch.htmhttp://www.absolutewrite.com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Identify the concept, theme and premise of your proposed series. Decide if you're going to
propose a comedy, action heroes saga, fantasy or some other genre. Determine if it takes place
today, in the future, in a real or in an imaginary cartoon world.
2. 2
These were the heroes of Skysurfer Strike Force
Outline your main characters. Describe them in enough detail so that readers can visualize them.
Include elements that will make your characters distinctive and appealing to your audience. See
them as if they were in a comic book. Then add thumbnails that decribe potential auxillarycharacters. If you're going to introduce a group of aliens in your narrative, describe what they
look like, where they come from and what they want.
3. 3
Include section that describes the show's narrative arc. In short, describe what your show is
about. Set it's tone by describing the environment and important events with some detail. This
section can be anywhere from a few paragraphs to a few pages. Define the environment in which
you series will take place. Is it a futuristic city or a fantasy world of the distant past?
4. 4
Introduce six to ten plot ideas with a paragraph or two for each. They don't need to be fully
worked out from beginning to end. Just outline your plot idea and explain how your characterswill be involved. The producers need to know that the characters and situation you've set up can
sustain many different stories.
5. 5
Explain how this show will appeal to your intended audience. Note any potential spin-offs,toys,
comic books,gamesand other marketing opportunities based on the program. This is very
important to producers and networks.
6. 6
Put everything down on paper in a way that's interesting andentertaining. Don't write flat prose.
You must get people excited enough to invest millions of dollars to turn your ideas into a
television series.
Read more:How to Create an Animated TV Series |
eHow.comhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQ
http://www.ehow.com/hobbies-games/http://www.ehow.com/hobbies-games/http://www.ehow.com/hobbies-games/http://www.ehow.com/hobbies-games/http://www.ehow.com/hobbies-games/http://www.ehow.com/hobbies-games/http://www.ehow.com/weddings-and-parties/http://www.ehow.com/weddings-and-parties/http://www.ehow.com/weddings-and-parties/http://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://i.ehow.com/images/a02/26/vv/animated-tv-series-1.2-800X800.jpghttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3q7LLpQhttp://www.ehow.com/weddings-and-parties/http://www.ehow.com/hobbies-games/http://www.ehow.com/hobbies-games/ -
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Tips & Warnings
Finding an artist to do sample drawings can be a great help, but you can also find sample images
from other sources that can create feeling you want your show and proposal to evoke.
In today's market your show might be on the Internet as well as network or cable TV. Keep thisin mind when pitching the show.
Read more:How to Create an Animated TV Series |
eHow.comhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82o
Samples of the little documents that can determine if yourtelevision or movie project lives or dies.
Often the first written form a movie or television
screen story takes is not a script but a log line,screenplay treatment or outline. These
deceptively brief collections of words, which canbe among the greatest writing challenges a
screenwriter will ever tackle, can determine if
an idea lives or dies. Learning how to makethese often-misunderstood sales and
development tools work for you will help yousharpen your ideas, shortcut the development process, recruit allies
and sell your stories. Examples of professionally written loglines,treatments and outlines are hard to find. Here are samples of eachavailable for you to download.
Log lines
A log line is a dynamic one or two-sentence statement of an idea fora movie or television show. Producer Lynda Obst, in her insightfuland entertaining bookHello He Lied, uses the wonderful term, "the
miniaturization of the idea." Thats what a log line is. Its job is to
give a rapid sense of the story and make us want more. Writing thelog line forces the writer to think clearly and succinctly about the
idea. The exercise of writing one can provide important focus for thescreenwriter. Click here to see a collection of sample loglines.
http://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.scripthollywood.com/id30.htmlhttp://www.scripthollywood.com/id30.htmlhttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82ohttp://www.ehow.com/how_2169855_animated-tv-series.html#ixzz1A3qGd82o -
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Treatments
A film or television treatment is basically a written pitch, usually oneto five pages long. Its a sales tool. Because writers cant makemovies and television shows all by themselves, they need tocommunicate to lots and lots of people what their great idea is and
attract some of those people to help them. A dynamite script, ofcourse, is a great way to do that. A screenplay treatment is another
way. Its also a useful way for a writer to test an idea before writinga screenplay, to focus the idea, and to communicate to an agent,
producer or potential buyer what the idea is all about. Like a logline, it should leave the reader wanting more.
BLY is a screenplay treatment based on the life of pioneering
journalist Nellie Bly, written to help a producer attract talent, and
hopefully development money, to the project.
To download the treatment for BLY in Adobe Acrobat format clickhere.
A WHITE MALE OF SLIGHT TO MEDIUM BUILD is a treatment
for a made-for-television movie about the badly flawed hunt for theLouisiana serial killer.
To download the treatment for A WHITE MALE OF SLIGHT TOMEDIUM BUILD in Adobe Acrobat format click here.
Outlines
An outline is a working document rather than a sales tool. It islonger and more complete than a treatment and serves as ablueprint for the script that will subsequently be written. Before ascript is written, an outline can serve as a communication tool
between the writer and others involved in the process of developing
the script: producers, director, executives.
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ACTUAL INNOCENCE is an outline for a made-
for-television movie script written for the FoxTelevision Network and Mandalay Television
Films. It is based on the nonfiction book byattorneys Barry Scheck and Peter Neufeld and
Pulitzer Prize-winning journalist Jim Dwyer.
To download the outline for ACTUALINNOCENCE in Adobe Acrobat format click here.
To download the complete teleplay for ACTUALINNOCENCE in Adobe Acrobat format click here.
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Get help writing a script that grabs Hollywood's attention -- from
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ARTICLE PUBLISHED IN SCRIPTWRITER MAGAZINE ISSUE 7 NOVEMBER 2002
TREATMENTS
By Lucy Scher
The Script Factory tries to respond to perceived gaps in industry training and developsevents, training and services around them. There seems to be a need in the readingand development industry for some clarity about treatments. There is no definitiveindustry standard about what a treatment is for, how long it should be or what is
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essential within it, which makes it harder to develop an approach and methodology tothe writing or assessment of treatments. Lucy Scher attempts to identify answers tothese questions.
The first question is, of course, what are treatments for?
There are three main purposes:
A sales document for a script already written; An idea for a script not yet written; A tool for developing a script.
The second question is: how does one arrive on my desk for assessment?
It could be that:
asked for it with a view to reading a script or commissioning a script; asked for it to clarify development for the next draft; its an application for a programme or for a report; its unsolicited.
If you ask for a treatment for either reason, or if it is an application for a programme, themore information you supply about what you want from it, the simpler the process ofassessment is because you have created the criteria against which it is to be assessed.By the end of this article you will hopefully have enough information about what youshould be looking for in a treatment to write your own meaningful guidelines.
If we go back to the beginning, treatments tell a story which is intended to berendered on screen so it is essential that we understand what a screen story is. My ownsummary is that it means something, it is entertaining and, importantly, it has emotionalresonance (all of this has been discussed in the genre articles in previous issuesofScriptWriter). With these three fundamentals in place, the story should find anaudience. In addition, I want to be convinced that its best place is on screen, whichmeans that the story must be told in a concise and dramatic way.
At The Script Factory we assume that the story comes from a place within the writer anda feeling that compels him or her to write it, usually without payment. The assessment isas much to do with the potential of the story as with what is actually written, and it can
be, or should be, a creative process for the assessor as well as the writer.
Writers often do not know what is expected of them in writing a treatment and there aresome very common problems that can prejudice the assessor against their work. Butthe basis of this article is to try leaving those assumptions behind and apply a way ofthinking that enables a writer to assess their work in its best light.
Common problems with treatments are:
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The treatment is a review of the script: it talks around the story rather than tellsthe story.
The treatment is presented as a teaser so that it doesnt tell the reader theending or it describes the set up and then has a list of questions about theoutcome.
The treatment gives too much detail, including too many random characters andnames. It is more helpful to identify a character initially by some feature amiddle aged bank clerk, rather than John.
The treatment doesnt give enough detail: the writer knows their story so well thatthey are unable to distinguish the essential information for a reader.
The treatment may not clarify whose story it is in terms of point of view. The treatment doesnt maintain the storytelling technique throughout. (Just as
newspaper articles grip us for the opening paragraph, we soon trail off notwanting the detail.)
There is a tendency for the writer to tell the reader about the characters.
For example: John is in an unhappy marriage. Apart from this not being mind-numbingin the first place, it doesnt indicate any drama. Think instead:John gets up and goes tothe bathroom. The door is locked. He pauses, considers knocking, but then walks backto the bedroom and goes back to bed. After what seems like an interminable time, hehears the bathroom door open, so he gets out of bed and as he passes his wife in thehall, there is no acknowledgement between them.
Treatments sometimes include a descriptive list of characters, which is oftendetrimental to the writer. The reader needs the characters to come alive in thestory and a list is no substitute
And finally, detailed description of characters may be used to provide bulk in a
treatment and are insidiously detrimental. Consider for example:John is a good-
looking bloke in his thirties with short-cropped hair, a pierced eyebrow and lightblue eyes. He is wearing stripy pyjamas and little round glasses. Or:John is goodlooking.
In example one, as a reader I may be thinking, I hate blue eyes and pyjamas, whichmeans that I am already at odds with the writer and bristling. None of the descriptionhas any impact on the story, except perhaps that he is handsome. In the secondexample I fill the gap with my own idea of good looking or, in other words, I haveinvested myself in the story by unconsciously doing some of the work. In terms ofassessment, if the writer enables the reader to invest in the story by leaving this kind ofspace, it demonstrates true storytelling craft skill, which should be noted.
The good thing about treatments is that they are unencumbered by script constraintssuch as the basic quality of the screenwriting, the skill in dialogue or visual grammar.They are also naked in terms of what can be achieved on screen: witty dialogue andspectacular effects can disguise an average script because the treatment should allowfor the focus to be on the story.
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The ability to tell stories is not dispensed fairly. Some people are much better at it thanothers and if you listen analytically to good storytellers, you can learn a great deal abouthow to do it effectively. I believe that storytellers know at the start where the story isgoing and how to end it. They know where to start the story in order to catch yourattention and they know how to heighten the drama at the right moment.
Storytelling is a craft and if you do it well, you will command an audience; if not, youwont. So in the broadest sense, the function of the treatment is to tell a story and theprocess of assessment is to decide whether it is a good story, well told, and/or whetherit can be made into a better story.
As a reader, if you are able to say yes or no on the basis of a quick read, then theassessment is primarily about whether or not the story hooked you, kept you interestedand delivered a satisfying ending. I repeat the caution that if the assessment isnegative, then because of the lamentable lack of clarity given to writers about thetreatment format, you may miss a potentially good story and that it may be worthwhile
looking a little more closely. If, however, a treatment has grabbed you then yourthoughts are about how it can be made even better: the treatment has become adevelopment tool.
When reading a treatment and assessing it in detail, either for its author or for someoneelse, I would suggest that the process of assessment should begin with what isexpected. This enables the assessment to establish what is missing and from this, todecide whether there is a format problem or a story problem and in either case, whetherit can be rectified.
My objective here is to create a format for a document (a little like the format for script
reports which includes synopsis, premise, structure etc) that gives details of theassessment and I think it is a good idea to start at the end. What should thereaderknow at the end of a treatment?
The reader should know:
what the story is about and be able to define it thematically; the protagonists and antagonists; the shape of the story; where and when it takes place; the key dramatic moments;
the hook or the reason why we would want to watch this story; and finally, some idea of the intended market. In creating a systematic approach to assessing treatments these questions can
form the basis for the response.
What is the story about and can it be defined thematically?
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This is distinct from what happens which is what it is about, such as this is a storyabout a shark terrorising a seaside resort and the communitys efforts to catch it.Thematically it is about the fragility of life. This is harder than it seems but if there is anysemblance of a story in the treatment, it should be possible to state what the story isabout and the larger issue it explores.
The protagonists and antagonists
As the reader, are you interested in their situation? Are they characters we can relateto? What are they trying to achieve and why cant they succeed: what is the mainconflict in the story? Are their goals and motivations comprehensible? Do youunderstand the steps they intend to take in order to achieve their goals? How will thischange them? From whose point of view is the story told? A film is someones story soa treatment should make it clear whose story the film intends to tell. Point of view givesmeaning to the theme; for example, what is the writer trying to say about the fragility oflife?
The shape of the story
Does it start in the best place? Could you explain to someone else why this story startshere? Does it end once the journey is completed? Drama has a beginning, a middle andan end. Is this basic journey explicit?
Where and when it takes place
Is it contemporary or of a period? Is it consistent in this? Is it set in a specific location fora specific reason? Could it be moved? The setting of the story is important. It frames a
film and contributes to the story in that the setting works for or against (or both) the maincharacter in their quest. Again, there should be a rationale about why the story is setwhere it is.
The key dramatic moments
Can the crucial scenes that heighten the story be defined? What happens to upset theplan? Why do we have to keep watching? Dramatic moments are about themanagement of information between the characters as well as between the audienceand the characters. We know something is about to happen, or all is not what it seems,or are we are shocked, humoured, enlightened at the same time as the character/s?
The hook
Why? Why are we expected to engage in this story? Does something happen that wewould like to know more about? Has something happened that needs a resolution? Thisannoying Americanism is actually quite critical. It is all very well to create goodcharacters and put them in an interesting place, but something has to happen togenerate a story. Otherwise it is simply observation and that is not the same as a story.
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The intended market
This matter is slightly beyond the scope of this article. Film is a global industry withestablished markets so although there is some room for manoeuvre in business terms,part of the assessment must be about its potential to find an audience. The question
that helps illuminate this is what type of story is it? Is it a love story, a romantic comedy,a thriller or a horror etc? Basically, you are asking whether there is already a market.This is fundamental to deciding the development potential of the story for the screen.Each type of story contains a set of expectations that relate to our understanding of theemotional range it covers and the inherent questions and themes it explores.
As a method, the process is simply to read the treatment and then try to answer thequestions. You shouldnt have to go back to the treatment to do this; they are generalquestions about story and the point is to be able to answer them quickly and easily. Asyou work through these questions you are necessarily responding in a way thathighlights the weaknesses and strengths in the story, as well as areas for potential
development.
Depending on your brief, this could be the time to abandon a treatment if you havegiven it reasonable consideration, it has failed to cut the mustard in one or more of thecrucial areas and you can explain this to the writer if required. However, if you areassessing a treatment in order to develop it into a screenplay or towards another draft ofa script on which you are working, the answers to these questions are the beginning ofa useful development document.
Once you have done this basic thinking, it is worth spending more time on the themesthat the film explores. Themes are suggested by the resolution of the conflict and can
be described in pithy phrases that suggest a universal truth in our time such as:
Life is fragile. Love is the most important thing. Justice is right. Greed is wrong. Identity is important.
Theme is what the film is about and it is important that you believe it to be a worthymeaning in that you think it is interesting and universal. You should also assess thewriters interp
retation of their theme because this is the ultimate meaning of the film.
The importance of defining the theme is that the writer may not have done it. Themerequires schematic thinking one of the roles of development and the definition oftheme/s is an incredibly useful development tool.
Stories that clearly manifest their theme usually very character-driven, ensemblepieces such as Lantana, The Ice Storm orLawless Heart still have to say something
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about their theme/s. For example, Lantana explores relationships under duress andultimately champions the importance of trust. This is not everyones idea of what isimportant in a relationship. It is the interpretation of the theme that the writer is offering.
The beginning and end of the treatment are simpler in many respects; the beginning
sets up the story and the end resolves it. The middle section is often the territory of theantagonists and obstacles and these need to be made as compelling as possible. Themore purposeful, intended and driven the obstacles, the easier it is to engage anaudience.
As with all story development, the bulk of the work is in the characters because whatthey do and say and how they change is the way in which we understand the story ofthe film. Characters can be distracting in an assessment process because they are somuch more tangible and simpler to chart in the story. As with scripts, in assessing atreatment, the focus should be on the two or three main characters.
Successful and favourite films are governed by our investment in a character withinthem. That character becomes a person to us and we care about them. To becomesuch a person, the writer has to make that character believable in that there is aconsistency of action, speech and re-action which we recognise. To do this the writermust invest an enormous amount of thought in any character, most of which will not bewritten in either the treatment or the eventual script but the thinking must still be done.The only way to assess character is to examine whether or not you believe in them.
The key way in which this is done is by examining motivation. We instinctively want toknow whysomeone behaves or acts or speaks in a certain way. We are uncomfortablewith not knowing why people do things. If at any point in the assessment you wonder
why a character is doing or saying something, it is worth noting.
It is difficult to produce a sequence of events or a plot and fit characters into it in aconvincing way. It is much easier, and obviously much more convincing, to createcharacters and allow them to act as a guide through the events. The impact that thoseevents have on characters and by extension on the audience is what makes the eventsinteresting. The order in which events unfold and the rate of information release are thetools by which writers engage and interest the audience. Understanding this allows usto understand the importance of character and how fundamental it is to make themconvincing.
In assessing the characters in a treatment you are looking for the kind of traits theyexhibit which may enable an audience to recognise them and engage with them. Theseare subtle and so all the help you are given by the writer, in allowing you the space tocreate them in your mind, is valuable.
Whichever way a character is presented, it is essential that the character grows. Thereis no story without growth and the way a character develops depends on with whatconflicts and crises he or she is tested throughout the story. Conflict is the essential
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point of the story and it is manifested and made convincing through the characters.Most conflicts need to be personalised to be sustaining, so it is important how conflictswith things are turned into conflicts with people. When conflict involves someone else,that person has his own response to the action that, importantly, requires the need for aresolution. This is drama and how to assess whether the story has been dramatised in
the treatment.
As a general rule, two opposing characters make stories simpler. The strongest conflictsare when a person wants something and another person doesnt want them to have it,or wants something that makes it impossible for the other to have it.
It is very common for early treatments to lack an antagonist but in most genres, theintroduction of a character who is pitted against the main character, makes thedramatisation of the conflict much easier and stronger.
A good treatment should indicate the action that a character takes so that the audience
can understand what kind of person they are and what situation they are in. A treatmentwhich tells rather than shows deserves rejection but if it should be in development, thiscan be a good place to start thinking about what could happen to reveal character andsituation.
Should a treatment be requested, it should be as clear as possible about what isexpected in the following areas:
whos story it is; the point of view; the setting and the time;
the reason we are expected to watch this story unfold; the scenes of dramatic tension that move the story; the resolution; character description through action rather than narrative; and in addition, there should be some stipulation about the length.
It may assist with clarity if it also states what is not wanted, such as:
no character descriptions; no detailed back story for characters; no excessive