All bibles don’t have to be holy ones, but those for television series come close, at least in the eyes of their creators. And while the executives who read them as part of their prep for green-lighting a series may make changes, they expect to see something fresh, new, exciting, and just plain impossible to turn down in their email boxes or on their desks.

Here’s some good advice on how to write your maybe-not-so-sacred manuscript so it zings.

Learn how to write a TV show bible and market your pilot like a pro
by Script Reader Pro

So you’ve got a great idea for a TV show…

Do you just write the pilot and start sending it out into the industry? Or do you first write one of those mysterious things known as a “TV show bible”?

If you want to learn how to write a series bible but are unsure what it should include, where to start or whether you need to write one in the first place, look no further.

In this post, we’ll be covering:

 What is a TV series bible?

 Do you have to write a TV show bible? And if so, when?

 TV series bible template and format

 40 TV show bible examples to download and study

And much more. So let’s dive on in!

What is a TV series bible?

A TV show bible is a 5- to 15-page document put together by a writer to help them sell their TV show.

A well-put-together TV series bible is an in-depth blueprint of the show—story world, tone, plots and characters, etc.—and how each develop during season 1 and beyond.


Beginner Tips on How to Write and Sell Your Screenplay

It’s always best to start with the basics, and Stage32.Com knows the basics very well indeed.

via Stage32 Blog

What makes a good screenplay? This is one of the most important questions that an artist needs to be aware of every single day. In coming up with the best work of art, it is important to note that instead of relying on the meta aspects of essential tips of writing a good screenplay, hence for effectiveness, a better focus on the concept of the story structure is essential.

Friedrich Hegel, one of the most renowned screenwriters of all times stated that “structure is the single most important element in writing and selling a screenplay”. Considering the general structure, the flow of a story is directed into three great pillars which include: the beginning section, middle and the ending section of the story. Notably, for a perfect screenplay, there exist three important pillars that play the governing role and when the three are not incorporated in the process then it is not possible to come up with the best screenplay. The governing elements include thesis, antithesis, and synthesis.

1. Thesis

To start with, the idea of the thesis is a significant figure of a good screenplay. Adam Wiener, a creative script writer at SolidEssay and ConfidentWriters, describes it as ‘the set up’ in which “the screenwriter sets up the play, establishes the character and launches a dramatic premise, illustrates the situation, and create a relationship between the main character and supporting characters.” The importance of the thesis in a screenplay is that it sells the idea of the film. In other words, it’s a crucial element encompassing a package of things to persuade people to invest money in a movie, book, or play to come out from that script….

Read it all at stage32.com

Getting Notes for Your Writing – The Screenwriting Life #1

Here’s an outstanding video (podcast?) for all screen and TV writers. It’s the first in a series featuring Meg LeFauve and Lorien McKenna, whose combined credits include writing and production on such films as Inside Out, The Good Dinosaur and Captain Marvel, and we’re hoping it will be followed by many more.

From Popcorn Talk

Interesting Thoughts About the new ‘The Invisible Man’

The good news: The Invisible Man – the newly released version gog-only-knows.0 – is a hell of a film, and in spite of the title the hero is a woman played by the wonderful Elizabeth Moss.

The not so good news: In order to get the film made, the filmmakers had to do the “Man” title thing.

Ah well, someday, right?

by Jonas Schwartz

A vital horror remake needs four components to succeed. A compelling lead, taut direction, smart dialogue, and a purpose for being remade, so that the new version is relevant to the times and not just a cash grab. Leigh Whannell’s new The Invisible Man has all that in spades. Not a perfect film, but there’s enough craft and ingenuity to invade people’s psyches.

Late at night, Cecilia Kass (Elizabeth Moss, Mad Men and Handmaid’s Tale) retrieves her hidden bags and sneaks out of her fortress of a house from her abusive boyfriend Adrian Griffin (Oliver Jackson-Cohen, The Haunting of Hill House). Adrian has treated Cecilia like a possession, and he attacks her for wandering off like a dog. Resourceful and determined, she manages to get away, nonetheless. While recovering with a cop friend, James (Aldis Hodge) and his daughter, Cecilia continues to suffer from battered wife syndrome. Learning that Adrian committed suicide and left her all his money gives Cecilia some solace. However, Cecilia begins to feel stalked even though Adrian has died, and before long, she knows that an unseen presence is putting her back in peril. But everyone else thinks Cecilia has just lost her mind. She becomes isolated by her loved ones and deemed dangerous. While they pity and fear Cecilia, her friends had better watch their backs, because an invisible spector is right behind them.

The Invisible Man would never have worked without an actress of Moss’ caliber. The film is from her perspective and the audience must be fully invested in her nightmares and her ability to fight back. Moss allows herself to play that line between determined and unraveled. Her behavior needs to appear nuts or all her friends who abandon her would just seem like jerks, so the audience wouldn’t care that they too are being menaced…..

Read it all at reflectionsonfilmandtelevision.blogspot.com


Ageism, like so many other isms, is as rampant in Hollywood as it is so many geographical and professional areas. Perhaps even more rampant. Our friends at Script Reader Pro are here today with some excellent and practical advice on how to deal with it in the real world:

by Script Reader Pro

Unfortunately, ageism in Hollywood is definitely real. The many lawsuits and payouts over the years are proof of the fact that the industry views more mature writers a little differently from those in their 20s and 30s.

For some reason, the general theory goes that if a writer hasn’t produced anything of quality by the time they reach, say, 45, they’re unlikely to… ever.

Yes, this thinking is as silly as it sounds, but it’s all part of the uphill struggle many aspiring writers face when trying to break in, and so deserves to be addressed.

But here’s the good news: age discrimination in Hollywood is often not the determining factor in whether a writer over 40 breaks in or not…

The determining factor is much more likely to be the writer themselves.

Click to tweet this post. 

In this post, we’re going to show you the top five actions you can take right now to combat ageism in Hollywood. So let’s jump on in.

1. Focus on your strengths as an “older” writer.

If you’ve been writing for a number of years, ask yourself if you’re a better writer now than you were ten years ago. Chances are, you’re a much better writer now than you were then and therefore much better positioned to break in.

Could a 25-year-old have written Marriage Story or The Irishman? Possibly, but it’s highly unlikely. Write down what you bring to the table as a more mature writer: your experience, life skills, writing craft, personal confidence, and so on.

Yes, a writer in his or her 20s may be better positioned to write a sitcom starring a bunch of millennials or a high school coming-of-age movie. But so what? You’re probably better positioned to write practically everything else.

What’s your life story? What makes you unique among all the thousands of writers out there trying to break in? Write it down and turn a negative—your lack of youth—into a positive—your experience.

2. Ask yourself if you’re using age as an excuse.

structure entails