Speaking of “the binge factory,” as we were just a couple of days ago, Script Reader Pro is one of the best script service sites around, and this is one of the best guides to successfully pitching your series that this TVWriter™ minion has ever seen. But I’ve already taken too much of your time so all I’ll add now is, “Dig in!”

Dammit, Munchman, how many times do we have to tell you to stop using this pic? It’s not this kind of pitching!

From Script Reader Pro

Learning how to pitch a TV show is just an important skill to learn as writing the script itself. If you’re hoping to break into the world of television as a writer, you can write the best pilot in history, but if you don’t know how to pitch it, it’s unlikely your show will get produced.

Apart from great writing, you need to be able to convince the financial gatekeepers (read: executives) at any cable, network or reality channel that your idea has the originality, longevity and “wow-factor” to turn it into a successful series. And to turn over a tidy profit.

To do so, you will need to learn how to pitch a TV show, but what does “pitch” mean exactly?

  • What kind of pitch should you put together in order to sell them on your big idea?
  • What should you include in such a document?
  • How should it be tailored to suit the particular entity you’re pitching to?

Below, we’ll aim to answer these queries by running through the means and methods behind pitching a variety of documents to a variety of TV formats and mediums.

In this post you will learn:

  • The #1 thing that makes a successful pitch to a TV show
  • How to create a pitch document
  • How to pitch a TV show to Netflix and other streaming and cable platforms
  • How to pitch a TV show to a network
  • How to pitch a reality TV show
  • Why writing credits are so important when pitching TV shows

We’ll also include a TV show pitch example in each section so you also get an idea of what you should be creating as part of the pitch process. So let’s dive on in…

How to pitch a TV show: the #1 thing you should have

Of course, just like with a feature screenplay, it all begins and ends with the concept.

A TV script lives and dies by its concept: the core idea behind the show that will make people want to watch the pilot and keep watching the series.

The cable and streaming world in particular have never been bolder creatively than they are today, so you must really put in the effort to make sure your show’s concept stands out from the pack….

Read it all at

Introducing Stareable’s new podcast: ‘Forget The Box!’

Exciting email from Stareable, the site this particular TVWriter™ minion considers the absolute last word about web series here on the, erm, web, about their new podcast. (And the first few episodes already are online.

Here’s the downlow:

In case you hadn’t heard, Stareable has a podcast now! Forget The Box, hosted by Stareable’s Community Director Bri Castellini (me!), aims to be the ultimate indie TV podcast, and…[y]ou can listen to all episodes in full here, with new ones going up every Tuesday!
We hope you enjoy the episode! And to sweeten the pot for you AND your communities, we’re doing a giveaway! Anyone who reviews the podcast on iTunes and sends a screenshot will be entered to win prizes such as a free ticket to Stareable Fest, a free Forget The Box teeshirt, or a $250 Amazon gift card!

See? Prizes. We toldja it was exciting. And the podcast seems pretty damn informative too.

Tell ’em TVWriter™ sentcha. (Yeah, they most likely won’t ask, but we like to be prepared for every contingency.

Keep the faith!

How Tarantino Writes A Scene

Not because you asked for it, but because if you’d known this was online you already would have watched it…and watched…and watched….

Brought to us all by The Closer Look

The Precarious Writer-Agent Relationship & How to Survive It

Over the years TVWriter™ has been online – just a few months shy of 20! – the most popular question by far has been, “How do I get an agent?” The idea behind that question seems to be that once a writer has representation the dark days will be gone and writing life will be all sun and smiles.

Our short retort to that concept is, “Not so!” But for those who want to fully wrap their minds around the reality of the situation, we present the following post. It’s about writing for print, but we guarantee you – if you’re writing for TV or films it works exactly the same way:

How I Got an Agent, Lost that Agent, and Found a New One (Without Losing My Mind)
by Lydia Lukidis

Like many of you, I’ve been knee deep in the querying trenches, desperately trying to make my submission stand out in the staggering slush pile. And as we all know, this process is time consuming. It goes on and on, peppered with rejection letters, until we finally get a bite.

I signed with my first agent a few weeks after I got my first bite. In my mind, my problems were now over. Yahoo! No more submissions! No more Twitter pitch parties! No more querying! I was already visualizing a book contract with the Big Five.

But that’s not how the cookie crumbled.

Here are 3 truths nobody tells you about landing an agent:

1. It can be anti-climactic: Don’t expect a book deal the next day, week or month.
2. You will still need patience: The submission process is laborious, no matter who’s doing the submitting.
3. You will still get rejected: The difference is that now, the rejections get sent to your agent.

These were sobering lessons for me. That said, getting an agent was a step in the right direction. I was ecstatic my manuscripts were now floating into the hands of reputable publishers.

My agent submitted four picture books over the course of the next year. I waited. And I waited. It was rejection after rejection, or no answer at all. I knew there was no set timeline on when that first contract would materialize. It’s always a gamble. I told myself I would give my agent a year and then re-assess.

BUT- early on, I began to have my doubts. I foolishly cast those doubts aside and remained in denial for months. I continued to feel my agent and I were not so aligned nor did we communicate the same way. I ended up waiting a year and a half.

I have no regrets. But my advice is this: TRUST YOUR GUT. If you feel something is askew, I suggest communicating this to your agent clearly. See if things change. If things don’t improve, you may need to re-evaluate….

Read it all at

This is What Unions – Even White Collar Ones for Writers – Can Do

Not all PACs are evil. The Writers Guild of America West is working for us not only on the professional front but culturally, personally, and politically as well.

We know this is expensive, but in these trying times we at TVWriter™ firmly believe that, as any of John Wayne’s characters might have said back in the day, we all “gotta do what we’ve all gotta do.”