To IP, or not IP

The TV Drama landscape has contracted over the last couple of years, but shows are still being made. And very often, they're based on existing IP (intellectual property). IP sells.

IP isn't just book adaptations. It can be a podcast, a news story, a true life story, a documentary, a musical, a stage play, a movie, a character from a movie - anything in the public domain. Commissioners feel reassured when a project already has a fan base or is a subject the public are aware of. And they find it easier to conceptualise what the project will be.

If you have an idea based on an IP, how do you pitch it?

Firstly, don't e-mail a producer and say, "I've found a book that'll be a brilliant series!" (If you're Russell T Davies or Sally Wainwright you can do that, but I doubt they'll be looking at my Linkedin for screenwriting tips).

If you pitch an IP, you have to approach it as you would an original concept.

Who's the protagonist? What's the story? What's the tone? Why is this story relevant now? Why are you passionate about it? Is it a returning series or a limited series?

When you send your pitch to a development exec, they may have no prior knowledge of the subject matter. Write the pitch in a way that compels them and inspires them to want to know more. Ultimately, how you intend to tell the story will sell the idea more than the subject matter itself. For example, I heard Jason Isaacs talk on a podcast about the series Archie. He explained how initially he had no interest in a biopic of Cary Grant, but when the show was sold to him as being about Archie Leach, the real man beneath the movie star persona, his imagination was sparked.

Some other tips...

If the IP is a novel or a published non-fiction book, check with the publisher if the rights are available. The big publishers sell their novels to TV companies before they are released so it's wise to establish this info before you put too much work into the project. If the rights are available, rather than take the huge gamble of optioning the property yourself, you could reach out to the author. Explain your vision to them and convince them how much you love their work. If the author has to choose between a corporate TV company or a writer with a passion for their novel, they may be able to persuade their publisher to hold onto the rights until the writer has the backing in place.

Basing a drama on real-life incident or event? Choose a character (or characters) whose eyes we will see the incident through and ensure the human story is at the heart of your pitch.

A true-crime? How can you tell the story without it being voyeuristic or sensational? What is it about the crime and the people involved that will grip an audience? What unique insight can you reveal? When the audience watch this drama, what will they discover that's new, that they can't find out from a documentary or newspaper article?

When pitching an idea based on an IP, there is a lot of work to do beyond just identifying the IP itself. But if you get it right, your chances of success are higher than for an original concept. For now, at least. These things go in cycles. Next year, who knows? Monkey tennis might finally get its moment...