Before you start writing, you need to know what kind of TV script you are writing. Is it a comedy, drama, thriller, or something else? Is it a pilot, a spec, or a pitch? Is it a half-hour, an hour, or a mini-series? Each genre and format has its own rules, expectations, and structure that you need to follow and respect. You also need to research and study the existing shows and scripts in your chosen genre and format, and analyze what makes them work and what you can learn from them.
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So, time to pick our genre and format - comedy, drama, thriller...ideas, anyone? The possibilities are endless, like a buffet of storytelling delights! But personally I would say that pre-production part is the most crucial part of the entire TV production.
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Craft an Original TV Script: Twist familiar genres: Reimagine a classic format. Unite oddball characters: Pair unlikely personalities for comedic sparks. Ground fantastical elements: Blend the fantastical with the relatable. Play with structure: Experiment with non-linear narratives or genre-bending. Surprise your audience: Subvert expectations with twists and humor. Find your comedic voice: Deliver humor consistently, be it witty banter or quirky situations. Learn from the best: Analyze successful scripts to understand originality in action. Embrace your weird: Don't be afraid to let your unique humor shine. Remember, originality comes from a fresh perspective and strong execution. Focus on what makes your story sing!
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Knowing the formatting is very important here. Read 100's of TV scripts in the format/genre that you want to write. If the formatting is not right, it will not get read. TV is much more stringent than features, and it relies heavily on the formatting.
Once you have a clear idea of your genre and format, you need to develop your premise and logline. Your premise is the basic idea or concept of your show, and your logline is a one-sentence summary of your show that captures its main characters, conflict, and hook. Your premise and logline should be original and creative, but also clear and concise. They should communicate what your show is about, why it is different, and why it is worth watching.
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As I've said many times before - your logline will be your most important sales tool. It's what we agents/managers use to pitch your project, it's what you'll use to query us. If it's not catchy, you don't get your script requested, or read.
The next step is to create your characters and outline. Your characters are the heart and soul of your show, and you need to make them believable, relatable, and engaging. You need to give them names, backgrounds, personalities, goals, flaws, and arcs. You also need to create relationships and conflicts between them, and make sure they have a clear role and function in your story. Your outline is the skeleton of your script, and you need to map out the main scenes, beats, and actions that move your story forward. You need to follow the structure and pacing of your genre and format, and make sure each scene has a purpose, a conflict, and a resolution.
After you have your characters and outline, you can start writing your dialogue and action. Your dialogue is the voice of your characters, and you need to make it natural, realistic, and distinctive. You need to avoid exposition, clichés, and filler words, and use subtext, humor, and emotion to convey your characters' thoughts and feelings. Your action is the description of what your characters do and what happens in your scenes, and you need to make it clear, concise, and visual. You need to avoid overwriting, directing, and commenting, and use active verbs, sensory details, and transitions to create a vivid picture of your scenes.
The final step is to revise and polish your script. Your script is not finished until you have checked it for spelling, grammar, punctuation, and formatting errors, and made sure it follows the industry standards and guidelines. You also need to review your script for content, structure, and style, and make sure it is consistent, coherent, and compelling. You need to cut out anything that is unnecessary, redundant, or boring, and add anything that is missing, unclear, or weak. You need to read your script aloud, get feedback from others, and rewrite it until it is the best it can be.
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If you're looking to work in TV, you gotta work your way up. Start as a writers room assistant. While you're there, read as many TV scripts as possible. Network with the room writers and keep working your way up the ladder. It's not an easy road, but keep working different job in TV production.
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