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When it comes to writing a television pilot though, the first step is to understand why you want to write it.
All of these reasons are fair enough. And about potentially repeating this process over multiple episodes without getting bored with writing about the same characters.
Is it for a calculated reason like those outlined above? Or because you really have a passion for telling extended stories over multiple seasons.
As opposed to self-contained ones that wrap in pages? Have you spent your life watching sitcoms from when you were a kid?
Can you recite lines from your favorite episodes? Do you love throwing out one-liners with your friends? Do you know the names of your favorite writers and follow them from show to show?
However, by studying how the pilots of three of your favorite shows set up the story world, define their A, B and C stories, plant pay-offs, etc.
Start by selecting six TV shows that most resemble the kind of TV pilot script you want to write. These should arc back to your reason for wanting to write the show in the first place and your passion for television as discussed in the previous step.
Got six? Start by seeing which shows overlap on the list when it comes to genre. Focus on which major similarities there are between your choices.
If so, you already know pretty much what genre your television pilot is going to be. On the other hand, if you selected one comedy, a crime drama, three police procedurals and a sci-fi thriller, then you need to give it a little more thought.
Take a look at your six shows and see where they overlap regarding the four major formats: Episodic , Serial , Anthology or Limited.
These are shows with self-contained stories each week. While each episode is self-contained, these shows can also often have overarching stories from season to season.
Anthology series are kind of a mix of episodic and serial TV shows in that they contain self-contained seasons instead of episodes. An anthology series will usually feature the same location, genre and themes, but change its cast from season to season.
Anthology series have made a major comeback in recent years as the general trend toward better written and produced television has increased.
Read more about the difference between the two in our post on how to write for TV. Then can you move on to actually writing your own. To skip it is essentially the same as expecting Jimi Hendrix to have come up with Purple Haze out of nowhere—without first spending years studying and playing rhythm and blues.
You need a solid foundation for this harder-than-it-looks enterprise of writing a TV pilot episode. And that foundation can be built through watching, re-watching, studying and breaking down the kind of pilot TV show you want to write.
This is the initial first step in order to get you really stuck into the process of deconstructing your three favorite TV shows: outlining them.
This is a simple, yet very powerful practical exercise that will help you understand all about strong character introductions, story world set-ups, A, B, and C stories and so on, in a much more hands-on way than just being told you need them.
Start with the first TV pilot episode on your list and follow these steps. This is handy for adding character names as each episode progresses.
Start the pilot show and simply begin typing what you see on screen. For example, the opening three scenes of The Purge pilot should look something like this:.
People shower together in some kind of facility. Afterwards they put on identical blue robes. They look happy. Miguel enters the facility and asks a nurse if he can see Penelope.
The nurse tells him she checked out months ago. He finds out she left with a guy named Henry. Just put down the bare bones needed to understand what the overall purpose of each scene is.
It can be tricky at first to keep up with the speed of the action, but after a little practice, it becomes fairly easy to outline in real-time without continually having to pause the show.
You should end up with a document a few pages long with each paragraph or sentence representing a scene in the pilot. Take a look at the pilot to the classic sitcom, Frasier , in which Frasier is forced by his brother Niles and fate to take in his father, Martin, and hire a home care provider for him, Daphne Moon.
Act 2 then explores this conflict further, ending with Daphne moving in and Frasier being forced to get used to his new life.
It will force you to think about TV pilot structure by working out where its act breaks occur, rather than just seeing them laid out on the page.
Also not all TV pilot scripts are available to download and read. In the case of the Frasier pilot, it breaks down like this:.
But always bear in mind this will only give you a rough guideline. Finally, the length of your show should become apparent. For example, Frasier is the flawed protagonist who just wants to be left alone.
Martin moves in, inconveniencing him. Niles instigates this. Daphne with her eccentric personality and Eddie with his staring move in, inconveniencing him further.
Martin instigates this. As well, of course, how the protagonist causes conflict for themselves. In fact, each character annoys him but in a different way, and these kinds of character contradictions and conflicts will become more apparent as you outline your chosen shows.
Then move onto the television pilot of your second choice and repeat, followed by the third one on your list. Writing around thirty outlines three seasons is probably enough to give you answers to all these questions and more.
We have a post that contains 50 of the best TV scripts to read that you can check out. The difference between outlining a TV pilot episode and reading one is that the latter will really help with dialogue and scene construction.
Read as many TV scripts as you can but you should definitely be reading at least the pilot TV show and three or four episodes of each of your three shows.
If so many aspiring TV writers already know this, then why are so many spec TV pilots lacking in these areas?
The answer lies in the writer taking on board this advice but not acting on it. The first step is to write out the logline to your pilot TV series one more time and be honest with yourself as you answer the following questions:.
Answering these should flag up any originality and conflict issues if they exist. Would you be percent confident in doing so?
We understand that being objective about your own ideas and creativity can be extremely tough. Is it really strong enough to start writing the pilot script?
If you know someone who works in the industry, ask them what they think of your idea. I can take it. A TV pilot episode can never have too much conflict.
When it comes to the core concept in television, the idea can be broken down like this:. All three elements should be more or less indistinguishable from each other and feed off each other.
And also the one who does the most week in and week out to drive the action trying to solve it. Frasier being a stuck-up snob is the perfect character to be forced into a story world living with his blue-collar father, dog and home care provider.
Frasier is the character who drives the action , trying to solve his various problems. Three innocent, imaginative boys are the perfect characters to have a best friend be abducted by an alien.
Camille, the self-harming alcoholic reporter, is the perfect character to be forced to return to her hometown to report on the murder of a young girl and move back in with her deranged mother.
TV shows live or die on their originality. With so many spec TV pilots circulating Hollywood, for something new to catch the attention of an exec or producer, it needs to be super original.
Except he got hit by a chemical truck. This is the heart of what makes the Frasier pilot unique. This is what makes the Stranger Things pilot stand out.
This is what draws us into the Sharp Objects pilot. Likewise, any confusing logic issues will likely be picked up by anyone you tell your idea to if there are any.
Stick to one core idea that you want to develop over the course of the season. So rather than having a logline like this:. A group of supernatural beings raised by American foster-parents become pseudo superheroes and try to understand their powers while reaping the souls of malevolent individuals and saving the world from an evil mastermind intent on world domination.
This logline has too much going on. The ideas are good but it needs refining down to one single, clear conflict.
Otherwise, the story feels muddied. List all of your major characters and make sure each one has a goal during the course of the pilot series. Is it original?
Is it exciting? Repeat the feedback exercises above and repeat. We recommend that you leave writing the TV pilot script until last.
The best next step is to write an outline of what you want to include in it. Different writers have different methods of coming up with blueprints for their television pilot show before actually writing it.
Others write out their scenes on index cards and stick them to a cork board so they can visually see how everything maps out.
Others prefer to start by writing a detailed document in prose form. Either a treatment or show bible. While some writers like to dive straight in and start writing the pilot script without an outline, this is a risky move.
In short, going this route is likely to result in quite a bit of rewriting which can be avoided by mapping out the show beforehand.
Whichever outlining method you choose, probably the best way to start is with a blank page. Who are your main characters are? What do they want?
Start with the big act breaks. What happens at each? What big event throws the story in a completely unexpected direction, pouring more misery on the protagonist?
What are the big story beats for each plotline? Then get into the scenes in each act. Plot each one so the protagonist is actively working toward their goal.
One that succeeds or fails at the end of each act break. Write a sentence or two for each scene, just like in the outlines you created for your favorite shows.
What do you want to show the audience about a particular character or relationship? This small amount of distance should give you the chance to see it again with fresh eyes.
So write a draft of the outline, take a break, rewrite, take a break, etc. It will help you see how the creators formulate their ideas in one concise document.
They can be harder to find than TV pilot scripts, but try to find the pitch bibles online of your chosen three shows too and dissect them.
Also, remember to ask others for feedback along the way. Overall, we advise not skipping on the outlining part. Of course, this is easier said than done.
Here are some books and guides on how to write a TV pilot that we strongly recommend you purchase and read. They contain affiliate links, meaning we get a small commission at no extra cost to you.
Once you have a completed draft, repeat the exercise of getting as much feedback as you can on your TV pilot episode.
That is, before you send out into the industry. Another great way to get a really strong idea of just how good your script is, is to put it through the trials and tribulations of a table read.
Get some friends together or join a writing group that does table reads and hear how your pilot show sounds when read out loud. This is something professional writers do all the time and it should be in your arsenal of feedback options too.
We also have a TV Script Coverage service dedicated to this. All of our consultants are also working writers , many of whom have worked in TV for major production companies and can help get your TV pilot sold too.
And we have a Mentorship Program in which we can work with you one-on-one in developing your television pilot, every week over twelve sessions.
Whoever you choose to look over your TV pilot, make sure you check out their credentials before parting with your hard-earned cash. Are they professional writers or just college grads?
How long have they been in business? Some websites also run TV pilot competitions which offer feedback as well as giving you the chance to win prize money or set you up with a manager or producer.
In short, for your TV pilot to be successful requires as much research and background work as it does actually writing. Work out what the core conflict is.
Ask yourself what kind of new TV pilot episode would you want to watch? What kind of characters and situations would you most like to see on screen?
This is the TV pilot script you should aim to write. The series was set to explore the "clashing hunter and monster cultures in Chicago".
The show was not picked up by the CW for the — season due to dismal overall reception by viewers. The Gossip Girl episode " Valley Girls " was supposed to be a backdoor pilot for a prequel spin-off series starring Brittany Snow as a young Lily van der Woodsen , however the show was not picked up.
A historically important venue for backdoor pilots has been the anthology series. They have variously been used as a place to show work still being actively considered for pickup, and as a venue for completed work already rejected by the network.
With the decline of anthology series, backdoor pilots have increasingly been seen as episodes of existing series,  one-off television films , and miniseries.
As backdoor pilots have either failed to sell or are awaiting audience reception from its one-time broadcast, networks will not advertise them as pilots, only promoting them as a "special" or "movie".
It is thus often unclear to initial viewers of backdoor pilots that they are seeing a pilot of any kind, unless they have been privy to knowledgeable media coverage of the piece.
In one extraordinary case, an unsold pilot was released as a theatrical film. A attempt to create a television vehicle for film and radio stars Lum and Abner was not picked up as a series, but the three pilot episodes produced as proof of concept for the series were strung together and released as a theatrical film titled Lum and Abner Abroad.
A put pilot is a pilot that the network has agreed to air either as a special or series. If the network does not air the pilot episode, the network will owe substantial monetary penalties to the studio.
Generally, this guarantees that the pilot will be picked up by the network. Unsold television pilots are pilots developed by a company that is unable to sell to a network for showing.
There have been numerous pilots for game shows that have been rejected by American television networks or syndicators:.
Instead of a single pilot episode, an alternative is a test run , a small number of episodes that air as a short-run series with the potential to go into full production if successful.
This is particularly common among shows that are intended to be stripped airing five days a week. If the episodes achieve a predetermined ratings level, the network orders 90 more to bring the total to episodes , immediately enough to rerun the show in syndication.
Byron Allen 's sitcoms followed a similar model, with Mr. Box Office and The First Family airing episode first seasons with the intention of following them up with a full episode order if successful; both series failed to reach the threshold Allen sought, though they remained in limited production three to four new episodes a year, mixed in with the first season for a few years afterward.
An earlier variant was the episode pilot run; in the late s and early s, Disney Channel notably gave a episode pilot order to two series it never picked up, but would go on to longer runs on other networks: Good Morning, Miss Bliss which also had a traditional pilot on NBC and would be revived by that network as Saved by the Bell and the Canadian drama Hillside which would move to Nickelodeon , Disney Channel's primary rival, and air as Fifteen.
Talk shows occasionally use test runs. Metromedia and its successor Fox Corporation were particularly associated with using test runs for talk shows, with examples including The Wendy Williams Show ,  The Huckabee Show a spin-off of Huckabee that aired for six weeks in summer ,  the final version of The Jerry Lewis Show ,   and The Kilborn File , an unsuccessful comeback vehicle for Craig Kilborn.
A pilot episode is generally the first episode of a new show, shown to the heads of the studio to whom it is marketed. The television industry uses the term differently from most viewers.
Viewers frequently consider the first episode available for their viewing to be the pilot [ citation needed ]. They therefore assume that the first episode broadcast is also the episode that sold the series to the network.
This is not always true, however, in part because of the factors mentioned above. For instance, the episode " Invasion of the Bane " was not a pilot for The Sarah Jane Adventures because the BBC had committed to the first series before seeing any filmed content  — yet it is routinely referred to as a pilot.
Sometimes, too, viewers will assign the word "pilot" to a work that represented the first appearances of characters and situations later employed by a series — even if the work was not initially intended as a pilot for the series.
A good example of this is "Love and the Television Set" later retitled "Love and the Happy Days" for syndication , an episode of Love, American Style that featured a version of the Cunningham family.
It was in fact a failed pilot for the proposed series New Family in Town , but was recycled as a successful pilot for 's Happy Days. On other occasions, the pilot is never broadcast on television at all.
Viewers of Temple Houston , for example, would likely have considered "The Twisted Rope" its pilot because "The Man from Galveston" was only publicly exhibited in cinemas four months later.
Even then, "The Man from Galveston" had an almost entirely different cast, and its main character was renamed to avoid confusion with the then-ongoing series.
From Wikipedia, the free encyclopedia. Trial episode made to sell a television series. For a list, see List of television episodes titled Pilot.
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