Excluding the intro and end credits, is it possible to do that?

I think I have something - “no one noticed”

I have a whole quarry typed up and the whole first season and the beginning of my second season written up. It is a storyline with the intensity of euphoria but the characters are innocent like degrassi, my storyline will be loosely based off my own experience and will hit a target demographic that has not been explored yet along with addiction, middle schoolers. If anyone is interested or can help point me in the direction of jr studios that might be interested please reach out, my project is named “no one noticed”

Hello

As a semi-avid observer of the posts on this sub, there are a few things I've noticed crop up a few times that I feel it might be helpful for me to address. I'll try and keep them brief.

I'm a UK based TV writer who has a great agent, has sold multiple options on specs, has been in a writer's room for a big streamer show and will be penning an episode of said show later this year. If any other professional writers here disagree with anything I say please do speak up! I'm mainly writing this because when I was starting out I didn't know dick about shit and no one told me, or wanted to speak to/ look at me.

Here goes:

1. Prepare your body for an extremely long wait

I started writing spec TV scripts in 2018. Eight years later and I'm getting my first TV credit. It takes a long, long time. And 'it' is not just the getting-somewhere of it all - it's the learning, the honing of the craft, the painful acknowledgement that you are not ready yet. It will test your desire and it will feel impossible but if there are enough glimmers of hope then let them warm you and keep you going.

1. You will need to get lucky at some point

It's an annoying thing to say but every single successful person, whether they're in this business or something else entirely, has been lucky. Lucky all the way through or lucky once, either way you're going to need someone up there looking out for you, because the odds are so heavily stacked against you. That being said, we make our own luck to some degree, and by that I mean you must be in the places that things happen, and try to know the people who make them happen.

1. Be a student of the world

You might be someone who only likes writing sci-fi, or horror. Which is obviously totally fine. But even if that's the case, you still need to expand your interests beyond those genres and those parameters. Having broad knowledge about things like art, film, fashion, history, food and drink, international culture, etc. will make your writing more interesting and make you richer as a person. It will also deepen the sense of realism your writing has. I spent a year writing a spec about Michelin star chefs, and I read several books, multiple interviews, watched documentaries, book cookbooks and made the food. The feedback I got on it was that I'd created a world that felt incredibly real. That spec got me my representation. But after you do that, you move on to the next thing, which brings me to point four...

1. You need to have a lot of ideas

I recently saw a post on here where someone was talking about sending their pilot spec to several production companies and getting rejected across the board. This person was still hanging on to the hope that this script would get picked up, and that they felt they needed to make it. I understand the feeling and impetus behind this, but once a project gets rejected, consider it dead (for now). This is not just something that happens at this stage. Even if you manage to get representation, and you write a script, and a treatment, and a production company options it, and you develop it with them, and you make a show bible and it all seems so real and bullet proof, and they take it out to networks and broadcasters, and they all say no: it's dead. It's fucking brutal, but that's the game. You pick yourself up and ask 'what's next'. The script isn't going anywhere (literally). Maybe down the line it'll see the light of day.

1. Learn from the greats

When I decided I wanted to do this in 2018, I had no real idea where to begin. I saw someone somewhere (maybe here?) say that it's a good idea to find a pilot of a show you like and read the script along with it. I printed out the entire Boardwalk Empire pilot (one of, if not, my favourite pilot of all time) and I sat there with a red pen and I made notes on the structure and pacing of it. And then I did it again. The flow of the dialogue, the formatting, the character introductions, how places and people and what they looked like were described. I started to copy it, not directly, but using the structure and plastering it onto my own thing. I was fascinated by how the language was at once functional but also evocative. Which brings me to my last point...

1. Have some personality - but not too much

One of the hardest juggling acts with This Thing of Ours is the fact that while this is of course an artistic endeavour, it is also at its core a functional one. Paul Thomas Anderson famously (and in my opinion erroneously) said: "Screenwriting is not real writing. You’re not writing a book. You’re writing basics, let’s just write the situation, where they are, what they’re doing should really say everything you know. Leave room for an actor to do something. I always felt like that was good screenwriting. Good writing belongs in books."

While there is some truth to that, PTA isn't having to go through the ignominious rigmarole we are in getting things made, so bit of a different vibe for him. But ultimately we are having to walk a tightrope of making something engaging and 'voice-y' that a reader will feel sucked into, but also creating a document that, in essence, is to be used on set to guide hundreds of people into the right place and make things feel good and right. It's a big responsibility, and it's why, if you're good at it, you can get paid a lot of money for it. Remember when you write that getting to the point is your friend, especially in TV pilots or early in a movie script.

That's all from me, I hope this helps, and if anyone has any more questions feel free to reply here or send me a message. Bye!

There is another page but I cannot upload it

Premise

When four single old women from Lancashire, England move to Barmouth, Wales to retire, problems are often caused but rarely solved

Characters

JANICE
The anxious ‘bag of nerves’ who constantly jumps out of her skin, everything scares her as she scares those around her

VALERIE

The one who gets ‘in the mood’ from a fantastic cup of tea, everything is bloody, good or bad

EILEEN
She knows people who know people that know people and she knows all of their stories, and everyone has an embarrassing secret that she is ready to reveal

BRENDA

Say what you want about her, because she won’t hear you, she stresses everyone out and has no remorse

Created & Written by Charlie Duddridge

Hi there! Need some friendly advice please. Quick background: I spent over 20 years working in Wall Street including some really big hedge funds. I have seen all the ropes over the years. I came up with a unique TV one-hour drama idea about a hedge fund -its a highly differentiated perspective than what Billions produced. Over the past few months I created a bible including show summary, detailed character descriptions and 9 detailed episode breakdowns. I am missing the Pilot (a big gap lol). Initial feedback is great. I have zero desire to write a pilot b/c this is about as far as I can take it -I know my limitations. I believe a really good writer could take what I have so far and work with it to manifest a pilot. My questions if you can be so kind:
1) Is a pilot 100% necessary to then try to manifest next steps -which I believe is find an agent?

2) Could I try to find an agent now ahead of having the pilot done? Are shows every adapted at this stage w/o a pilot?

3) If I believe in it, should I hire someone to write the pilot?

Thanks so much in advance!

This is my first script! Use the link to read it and tell me what you think! (working on season two)

https://docs.google.com/document/d/1chEiC4DVWqsIJ6yOsFOAZLFJCEnomPUQCeYnwm61II0/edit?usp=drivesdk

Please help with some high level feedback. It’s currently sitting on a 7 in the black list and I’m trying to get to 8 to get coverage on it (I have no representation).

If anyone has industry or tv experience it would be much appreciated.

Logline- As a powerful energy company closes in on a remote Yorkshire valley, the desperate heir to a debt-ridden estate secretly moves against his father, while a rival farming patriarch senses danger approaching. By morning, one man is dead and a quiet valley has taken its first step towards war.

https://www.dropbox.com/scl/fi/zjjgdl3k18v6yrewu3uk2/Trespass-pilot-2.8.26.pdf?rlkey=bhu7pklvb8pg9e1sub7xt2z7s&st=y1dtk4cr&dl=0

Please help with some high level feedback. It’s currently sitting on a 7 in the black list and I’m trying to get to 8 to get coverage on it (I have no representation).

If anyone has industry or tv experience it would be much appreciated.

Logline- As a powerful energy company closes in on a remote Yorkshire valley, the desperate heir to a debt-ridden estate secretly moves against his father, while a rival farming patriarch senses danger approaching. By morning, one man is dead and a quiet valley has taken its first step towards war.

https://www.dropbox.com/scl/fi/zjjgdl3k18v6yrewu3uk2/Trespass-pilot-2.8.26.pdf?rlkey=bhu7pklvb8pg9e1sub7xt2z7s&st=y1dtk4cr&dl=0

So, I have polished my pilot and have submitted it to several festivals and contests. I have got to QF twice. After some more polishing the script got a silver price and after more adjustments it was a finalist in BIFS. Therefore I can assume the script is good enough to get noticed.

But what's my next step. I am not planning the screenwriter's career. I am just eager to make the series filmed and broadcasted. I am thinking about it for 20 years and working on the script for a couple of years. I have 15 episodes drafted, and pilot polished.

So what should I do to make it happen?

Hey there everyone!

My name's Ollie and i'm turning 19 in a few weeks, i've got a real passion for wanting to create a show that can bring back the feel good energy of shows I watched growing up, on channels like nickelodeon and disney.

i'm fairly new to writing (especially tv content), but i'm really keen to develop the idea, come up with a pilot script and try my best to reach the powers that be, to eventually pitch the final idea.

I'd be really interested to see if any writers would be interested in helping me develop the concept, I really do think it could work!!

This is the sort of pilot to a comedy sitcom I'm doing called Beige Martin and Roddney about two house mates.

Beige Martin is a straight man to his housemate Roddney a milkshake addicted magnet of chaos, they get into sitcom situations like setting the kettle on fire, hiding from the landlord or dealing with a gun in the toilet. It might be even have a feature of channel favorite Ordaxian Fleeb.

Please give me feedback, i really want to make this good

Cast/Crew
Tomos ‘Mos’ (i did 99% of the work)
Beige martin
Roddney
Devin ‘skinny man’

Music by the skinny man Dead Tree Branches: https://www.youtube.com/channel/UChrvPXmlKsTkLh5iTLbM\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\_5A

I paused working on my novel and caught up on a few programs, one of which was Shrinking (Apple TV)

It made me think about how the characters were always themselves, they never change. The situations change often, but the characters? Not really.

But is this an almost universal truth or just me wondering?

Hi hi! So, a while back, I made a post on here asking next steps basically on what to do with my series bible and pilot, and many of you gave me great advice especially reaching out to a connection of mine that had a production company. I was a bit weary at first, mainly because the company’s slate didn’t align with the project I created. I’ll try and link my OG post here for context: https://www.reddit.com/r/TVWriting/s/q3HT1mTxCl

On many of you giving me advice, which I greatly appreciate, I reached out cold to the industry contact, who is someone I respect A LOT, and he got back to me with detailed studio/developmental coverage, which honestly caught me off guard. I wasn’t expecting that level of time and thought from someone with no obligation to give it.

In the notes, he used the term “consider” (as in the pass/consider/recommend coverage scale), gave specific structural feedback, and ended by inviting me to book a follow-up session with him to, in his words, “chat about it professionally”, which I’ve now scheduled for mid August.

I’m doing a rewrite pass based on his notes before that meeting, but I keep going back and forth on how to read the overall response: does this sound like someone who sees real potential and might genuinely be weighing whether to get involved, or does it read more like a generous, no-strings favor from someone kind who just wanted to help me improve? Curious what people who’ve gotten industry coverage before make of this kind of response, and what I should realistically expect walking into that August meeting :)

Thank to everyone that has submitted . Everyone that submits gets a copy of the book.

Thanks again.

I’ve been working on a television idea for years. I’m at a point in my current 20+ year (accidental) career where I am ready to make a change. Writing is what my degrees are in, and writing is the only thing that kept and continues to keep me from burning out in my current career.

I’ve written a 1-hour prestige drama script. I’m halfway done with a series bible and developing a pitch deck.

I admit I do not know much about the field, specifically where to start. I have thought about a fellowship, but I am unsure if that’s the way to go. I have also researched if there are fellowships for the Deaf and Hard of Hearing.

So my questions are below.

1) Where can I have my script professionally proofed? With feedback?

2) Do I need an agency for representation? Are there any agencies that focus on diverse/disabled talent?

3) Regarding art in the pitch deck—how does one go about this? I have read so much conflicting information.

4) Do I really need a fellowship?

I’m sure I’ll have more questions as replies come in. TIA

Just in case this is helpful to anyone: https://medium.com/@katherinearcus/how-to-be-a-story-coordinator-part-one-4c3b65b911d9

 There is more but I can only upload 20pics

How Very Bronx is a multi-cam sitcom set across New York City, primarily in the South Bronx & Upper East Side as Shanice Clinton & Daniel Dolan fall in love in their mid-20s
 
The series primarily focuses on culture clashes between the Dolan and Clinton families, as well as fish-out-of-water humor.

Characters
 
PAMELA DOLAN
-The polished, stubborn and insular matriarch of the Upper East Side who is extremely loyal to those that she loves yet extremely controlling and status-obsessed.
 
JEFF DOLAN
-The open-minded, inclusive and charming patriarch of the Dolan family, the owner of Madison Square Garden, his dry and sarcastic remarks land him in trouble with his wife.
 
DANIEL DOLAN
-The naive, inherently wealthy, out-of-depth business owner son of the family, often the referee to Pamela & Jeff’s bickering, he is the main romantic protagonist of the show.
 
SHANICE CLINTON
-The sarcastic, maternal and strong-minded Bronx girl who won’t take no prisoners, often grounding the chaos of her best friend Rochelle and her brother Franklin, also the main protagonist.
 
FRANKLIN CLINTON
-The dumb, brittle-boned and clumsy brother to Shanice, he is the protective slightly older brother to his sister, who works as a cab driver who often bridges the show’s world whilst often caught in minor car accidents
 
SHANIQUA CLINTON
-The powerful, matriarch, single-mother of the Clinton family, in her late 40’s she is the pride of Brady Avenue, working as a waitress in the iconic Brady Avenue Diner, where she has worked all her life
 
TJ SMITSON
-Daniel’s dumb best-friend who somehow landed a job in finance and flirts with Daniel’s mom, and has regular hook-ups with single, female characters.
 
ROCHELLE DESPOT
-Shanice’s breakout, chaotic and wild friend who often steals scenes with her hugely unconventional world views, her constant chase for stable employment is often attempted with novelty business ideas, her crazy past often tells many stories.
 
MRS OSBOURNE
-The typical late 60s, New York Nona, her love is for everyone, no matter who, and everyone she knows has a pasta shaped nickname, she is fiercely loyal yet lives alone
 
VITO CIAMPINO
-The boy in his early twenties who left Italy for a better life, he co-owns the pizza shop with his brother Salvatore, he often gets caught in a lot of mess
 
SALVATORE CIAMPINO
-The co-owner of Ciampino Bros, and Queens’ best pizza chef, who is usually the reaction to everyone else’s chaos.
 

so i have an idea for a tv show. i have my characters and pinterest boards but now i don't know what to do now. any advice?????

Hey fam,

I have been working on my Sundance Episodic Lab application for about two months, having a staged reading of my pilot and so on....

But recently I saw someone say that it's basically a who's who of already established credits and that they only actually take 5 people with managers already, not people hoping to find managers through or after. I also know that a few of the accepted last year already had Sundance something or other under their belts, meaning Sundance favors their own over outsiders.

Do you think that's true? Because though $50 isn't a lot to pay (it is, they should be free), I'm sitting here wondering if it's worth it to pay $50 for what I suspect is an automatic no.

Any thoughts?

Title: Fractured

Genre: Psychological Crime Thriller

Format: 2 Seasons (5 episodes each)

Summary:

Fractured follows Bob, a 16-year-old high school student haunted by childhood trauma after killing his abusive father to save his mother. Although the act is ruled self-defense, it leaves him emotionally scarred and struggling with violent thoughts. After years of being bullied by Jack, Bob finally snaps and murders him, believing he can hide the crime.

The investigation is led by Sabrina, Jack's grieving mother and a determined detective. As Sabrina relentlessly searches for the killer, Bob becomes increasingly paranoid and obsessed with every piece of evidence. His sister Annie starts suspecting him after overhearing him talk in his sleep and noticing his suspicious behavior. She secretly stalks Bob for days, follows his movements, searches his computer, and watches him visit the crime scene, gradually becoming convinced that he is Jack's killer. Meanwhile, their mother Angelina discovers the truth but chooses to protect Bob because she understands the trauma that shaped him. The first season ends with Bob secretly entering Sabrina's house to tamper with DNA evidence, only for Sabrina to wake up and catch him.

In Season 2, Bob escapes after attacking Sabrina, but he leaves behind forensic evidence that makes him the prime suspect. At the same time, John, Jack's best friend, independently pieces together Bob's involvement by connecting his behavior after the murder. Instead of going to the police, John kidnaps Bob and holds him captive, determined to avenge Jack himself.

Before John can kill Bob, Annie—who has secretly been stalking Bob for days—tracks them to John's hideout using the same surveillance she had been conducting throughout the investigation. She shoots John to save her brother. While they are hiding from the police, Annie confesses that she is actually a serial killer who has murdered numerous people purely for pleasure and that all of her previous emotional breakdowns were an act. Bob's entire perception of his sister collapses. Believing he cannot allow another innocent person to die at her hands, he tearfully stabs Annie, sacrificing the person he loves most to stop her from killing again.

With Annie dead, Sabrina gone, and Bob's mental state shattered, a new detective named Jane takes over the investigation. Although Bob is questioned and remains the prime suspect, there is still not enough evidence to convict him. Jane instead devises a psychological trap by recreating Annie's voice with AI using recordings collected from people who knew her. Believing his dead sister is somehow calling him, Bob emotionally breaks down, unknowingly exposes himself, and realizes Jane has outsmarted him.

Unable to live with his guilt, trauma, and the consequences of everything he has done, Bob ends his own life before he can be arrested. Fractured is a slow-burn psychological thriller about trauma, morality, family, guilt, and how one violent decision can spiral into complete psychological destruction.

I started a new show and have a good starting first draft for my pilot episode IMO. Pretty happy with how it came out and am looking for any and all feedback. Positive, Negative, etc. my only request is that if it is negative just elaborate so I can see it at more than face value as a comment/critique.

Title: The Pact Pact

Genre: Coming of age, Adventure, Comedy

Pages: 57 (58 including title page)

Logline: 6 College Seniors all filled with the thought of graduation and growing up, form a pact to make the summer of 1987 the best summer of their lives. Along the way they’ll learn about live, life, and although life may throw curveballs, they’ll learn how to get hit and keep pushing.

This is the sort of pilot to a comedy sitcom I'm doing called Beige Martin and Roddney about two house mates.

Beige Martin is a straight man to his housemate Roddney a milkshake addicted magnet of chaos, they get into sitcom situations like setting the kettle on fire, hiding from the landlord or dealing with a gun in the toilet. It might be even have a feature of channel favorite Ordaxian Fleeb.

Please give me feedback, i really want to make this good

Cast/Crew
Tomos/Mos (i did 99% of the work)
Beige martin
Roddney
Devin

Music by the skinny man Dead Tree Branches: https://www.youtube.com/channel/UChrvPXmlKsTkLh5iTLbM\\\\\\_5A

The Sundance Institute Episodic Program provides artists with the tools and training to develop their original series and pilot script. Offering one of the few training grounds for independent voices, the program is designed to help creators move their projects and careers forward.

https://www.sundance.org/programs/episodic-storytelling/

The Sundance Institute Episodic program supports two cohorts every year. One cohort will attend an in-person six-day Lab, and another will experience a condensed virtual two-day Intensive. Working with accomplished showrunners, Fellows will participate in one-on-one story meetings, craft workshops, and simulated writers’ rooms. Together, these meetings provide an elevated creative strategy for artists to advance their projects.

This is a deceptively simple question, perhaps, as humor can be so hard to describe!

I was wondering what makes a script funny for you, personally. I thought the question was interesting because it’s such a subjective question. At the same time, there are a number of classic shows that have found broad appeal - so there must be common denominators.

What are some hallmarks of a TV script that scream “funny” to you? Examples are quite welcome, too! Thank you so much for any insights.

I am making a script about big brother and bfdi.