Screenwriting : Selling a TV Show by Spencer Robinson

Great insight, Spencer Robinson, thanks for breaking this down so clearly!

This is incredible advice! Would love to connect with you more

Spencer, this feels honest — and necessary.

It seems the shift isn’t just about talent level, but about risk mitigation. Buyers aren’t just evaluating writing ability anymore; they’re evaluating infrastructure around the writer.

Staffing builds trust. Features build leverage. Packaging builds confidence.

For writers outside LA/NY, the path looks different — but the principle remains the same: reduce perceived risk while increasing narrative durability.

Appreciate you speaking plainly about the realities of the marketplace.

It's amazing to have this kind of insights, thank you Spencer Robinson

Hey Spencer, do you like thrillers?

Billy Kwack Not sure why you’re asking

Hey, I was planning on doing a pitch sessions and Pat recommended you

Glad to see this advice coming from a reputable opinion leader, as it can't be said enough right now.

The number of first-time writers I see trying to sell pilots is insane. Worse still, many have written an entire season of episodes and/or don't even have a series bible.

This is such a waste of creative energy. I don't know where people are getting the idea they can sell these. There are zero examples of it happening.

Low-budget features written for general audiences are where the opportunities are for people just starting out, and also shorts for those who really want to maximise their odds.

Same with getting representation. You can't just write one script and expect to sign to some major agency. It's preposterous, yet communities keep telling people they just need to spam enough inboxes.

Spencer Robinson This may be a silly question (excuse the naivete if it is) but what about trying to interest a successful writer to partner on the TV Series project and be the forward facing individual pitching to applicable individuals???

Aris and John This has pretty much always been the norm. It's just even harder now.

CJ Walley You can also sell a big feature with no credits. Doesn't have to be a small indie. It's actually easier for me to introduce someone who writes big studio-type movies to the whole town quickly.

Darrell Pennington If you have a showrunner who will partner with you, great. Not sure what you mean about being the "forward facing individual."

Billy Kwack I rep writers who write most genres. Thrillers are something that I am always interested in.

I am glad to hear this @spencer. I prefer to write features. I was beginning to think everyone only wanted series these days. I like watching series, but my preference is still features because more often than not, I want to watch a story in one sitting, and my writing tends to be the same.

Kevin Jackson There are plenty of companies that want either, but it's just much harder for a new writer to sell a show.

Spencer Robinson Is the comparative ease of movies due to the demonstration that the writer knows how to end a story, isn't trying to jump right to an ongoing meal ticket, isn't asking for a sustained production environment of several episodes per season, etc?

Timmy Hunter-Kilmer Film is a director's medium. Someone buys your script, and then the director is the captain of that ship, and in charge of not messing it up. In TV, the writer is king or queen. There's also no real indie TV, so you only have a limited number of places to sell.

Hi Spencer, cool

Spencer Robinson I was thinking strategically if there was an experienced writer who had sold series then having them as the individual pitching etc....might make the Producer/EP and ultimately financier more receptive to the show. For instance (I'm sure you've heard this one before haha) I have more than one series that has been identified by industry people as very good AND incredibly unique. So if I could find a writer that has experience with series in their history and they would be willing to partner in the project creatively and financially then theoretically that would be more likely to happen. Yes or no?

Spencer Robinson, if you're a well-connected rep that takes on uncredited writers, then fair play to you.

Langley Coleman it's somehow changing with more independently financed TV shows seeing the light of day but it's still a rare sight and experienced showrunners will get financed, not emerging writers. The key for an emerging writer is to be paired with a showrunner who can take them under their wings.

Geoffroy Faugerolas Is there a defined/efficient strategy in aligning with a showrunner? Is it the same process as anyone else? Query letters, chance connection etc....?

Darrell Pennington You are basically saying what my original post was about. You need a higher level writer to oversee you in order to sell something.

CJ Walley I've signed plenty of baby writers in my career

Langley Coleman I'm talking about legitimate TV that will move the needle with buyers. Sure you can post whatever you want on YouTube, but unless you get big numbers there, it's not going to matter.

Spencer Robinson Thanks so much for doing this. Is it the same concept if you're writing a limited series? Still need to have proof of ability- even if you're a baby screen/teleplay writer? What are ways to get those experiences when it's so difficult to get staffed? I'm asking as someone who is writing a psychological drama/thriller and yes- it could be a film, but as a limited series- it hits deeper. How do you get the experience to get staffed, to finally get your pilot looked at?

Spencer Robinson - thank you so much for your insightful post and thoughtful responses. I have a question - let's say there was a very fortunate baby writer who was able to get their tv pilot script read and land a meeting with a reputable production company. What advice would you give that writer for when they're in the (virtual) room? What do the executives want to know before moving forward? ...and what are some ways they might move forward if the writer in question has no representation? :)

I’ve written a project ( a thriller) that an experienced showrunner and also a strong tv producer have come on board to help pitch. It has been a journey to attach them both but so far a great collaboration. We’ll start pitching I believe next week. I’m nervous but also excited about this next step!

Very good advice Spencer Robinson!

Spencer - it is hard as an unknown writer to get past gatekeepers to producers who can actually take your limited series forward. Mine is a big budget period piece with Disney IP and more. However, I finally got one great connection through Stage 32 with a 10-page pilot read. I am very hopeful this is the right fit to produce with me and get an A-list screenwriter to work with me for the best script. Angelina Jolie got the Coen brothers to work on the script for the true WWII story "Unbroken".

Very precious insights!

Hi Spencer,

Thanks so much for sharing your insight—it’s really helpful! I appreciate the advice on staffing and writing features as ways to build credibility and open doors.

Thank you for this information Spencer. I am swimming upstream about to pitch my pilot to one director producer, but also using the script at a calling card for staffing

On the tv shows I've worked on I have seen many a writer's assistant become one of the writers - definitely seems the way to move up with a seasoned show runner. Do you see feature scripts that could potentially be good series? Of course, I'd be happy to have my feature script becomes movies either way! Thanks for this discussion Spencer Robinson .

Thanks for sharing your insights, Spencer.

Hey Spencer Robinson, thanks for laying out the odds so clearly.

I understand that buyers can be risk-averse when it comes to partnering outright with inexperienced writers. What I’m trying to clarify is whether the system leaves meaningful room for creators who assume from the outset that collaboration and packaging with experienced leadership would be part of the process.

Is there a realistic pathway today for a producer and/or showrunner to champion and package a strong concept from outside the traditional staffing ladder? In situations where the concept is solid but the writer lacks room experience, is the barrier more about writing level, or perceived execution risk?

And practically speaking, when experienced talent is attached, does that meaningfully shift buyer interest, or does it still tend to stall?

I’m genuinely interested in understanding the mechanics of how those packaged opportunities happen in the current market.

Thanks for the brain power!

Is there a place in bigger platforms for faith based thriller series? Or is that too niche?

That's why I wrote both; A 6-episode series that can expand AND a Feature. Both with the same tone, but two different stories.

i wrote 8 Episode of my new series the white noise in week and now i moved to new project

Thanks Spencer, appreciate the valuable insights. Do agents and managers take referrals from boutique talent agents for lit? I have a talent agent and could ask her to refer but am not sure who she knows and if her referal would fall on deaf ears if she doesn’t know the other agent/manager. Im at the point where I want to work - a lot- and I’m an LA local. I’m a 4 lifepath so I am a workhorse.

Thank you so much for the advice. Any insight is always appreciated especially from reputable sources.

It's understandable that professionals wouldn't want to get involved with an unknown author. I have not just a pilot episode, but a whole season. What are the chances I'll be able to sell anything? I don't think there are any. Even though the idea and the script are mine. No one will complain.

Dianna Renée I take referrals from people I know, but yes a talent agent is a great person to make those kinds of calls. PS - no idea what a 4lifepath is FYI

Mikka Hope Just like the post above says, you have a very slim chance of selling a tv show unless you have a great package. Writing a whole season doesn't give you a better chance. It's honestly a red flag for me because you could've spent that time writing other pieces of material instead of wasting it on additional episodes.

Imad Chelloufi There's no reason to have written 8 episodes.

Michelle Tonkin There are places that make faith-based programming.

Shane Copeland Literally no reason to write 6 eps of a show.

Steven Kirk Yes there are showrunners who will oversee a newer writer. Yes a piece of talent can also help. The tricky part is making sure you attach someone who actually moves the needle. I've seen it work, and also not...

No reason to write multiple spec episodes for a series proposal except that doing so is the only realistic way of developing a strong vision for what you want to do with the show.

Richard Buzzell Having developed shows with writers for 19 years, I disagree with that.

Xochi Blymyer Sure, I've seen some movies that I thought would make better series, and vice versa.

Spencer Robinson I know but I must while I still have time it's not first time, they called me the machine here in Algeria I used to write every day before I finished the white noise I wrote a novel 354 pages in one week

The writing helps me to relax

I have one indie feature as writer/director that has been distributed and is now streaming on Tubi. I’ve also directed 10 x 20 minute docs that were broadcast on NHK in Japan and directed a second as yet un-distributed feature. I have written a period series pilot about picture brides who came to Canada from Japan in 1900s. Expensive to make for sure but given the success of Shogun, not beyond the reach of finance. Do you think my credits are adequate to at least have it looked at? I plan to pitch it at the Banff World Media Festival in June. Thank you.

Dear Spencer, I learned screenwriting by producing 22 hours with no-budget projects for public access television stations. I have an idea which Sweden's public service television likes. But as a person without a production company, I can't sign an agreement with them. So how interesting would it be for production companies in your part of the world if one tells them that there is in practice at least one interested television station in another country?

The idea is for children. 24 episodes, 5 hours. Nordic television stations broadcast such TV mini series every winter. I have been in contact with a woman who was a writer on an earlier such TV mini series and she would like to collaborate on my idea.

Thanks for the reply, Spencer Robinson. So that just moves the odds from infinitesimal to just slightly more infinitesimal! ;)

If a writer is able to stop writing after doing a single episode of their brilliant series concept, then how excited are they about it? Seems like not so much. And if a writer can''t get excited about their own concept, how do they expect viewers to get excited about it?

The series development process is dysfunctional. And the evidence of that? Look at the current TV landscape. It's garbage piled on top of garbage piled on top of more garbage. But not one single person open to changing the process.

Slightly off-topic, but FYI I did a 30 minute script consult with Spencer Robinson last November, and it was incredibly productive. He had so many detailed, thoughtful notes and truly constructive feedback. Highly recommend.

Joohee Muromcew Thank you so much! So glad it was helpful.

Richard Buzzell You can do whatever you want, but every professional TV writer that I work with is able to properly pitch their series with a pilot, or sometimes no pilot and only a pitch. Making a statement like "If a writer is able to stop writing after doing a single episode of their brilliant series concept, then how excited are they about it" is hilarious.

And this "pitch only" process that your writers have used has resulted in how many successful tv shows?

Spencer Robinson LP4 is a numerology thing. Basically adding up your full birthdate - kind of like "what's your sign". A lot of guys (men) are getting into right now because of a YouTuber who's been doing readings. It's hysterical but can be scary accurate.

Richard Buzzell Several sales. Look, you obv have no idea how this works. Please just stop.

Nobody is questioning your competence here Spencer. I'm sure that you do a good job of generating revenue for your clients. My interest is not in how things work. My interest is in how the currently dysfunctional system could do a better job of generating high calibre content. And it is my belief, which I am entitled to, that series concepts that are developed beyond a single episode can be better evaluated than just a pitch and a pilot. I realize that's not how the industry works, and I'm saying that's a problem.

What if you have not just original ideas, but also an idea for a revival/reboot series? Or an idea for a series based on a movie you like.

Hi Spencer, let me first say that I haven't been opening Stage 32 emails for a long while. With that being said, for whatever reason I was prompted to click open and click the link to find this post.

I have had a TV Series ready (pitch deck, pilot) for awhile now and have been working on networking to the best of my ability. Sometimes life gets in the way, but I haven't given up on the dream.

Would love/honor the opportunity to connect further if possible.

It seems Spencer is saying none of us have any hope of ever getting a project done because it is only insiders who can do that. If I could get to Hanks and Spielberg with my true story about women pilots who flew and died in WWII - maybe it would have been done long ago!!

Kevin Hager Doesn’t matter

Deborah Jennings It’s not a never thing. It’s incredibly hard, but doing things like staffing, or selling a big movie, or getting paired with a Showrunner to oversee you can all make it less hard. I will tell you that the female pilots in WWII idea is something I hear 5 or 6 times every year.

Blake Farris In what way?

Spencer Robinson I think one of the main takeaways I'm getting from this discussion is that features seem like the most practical path for newer writers, and I actually don’t disagree with that. I tend to naturally focus more on writing features rather than episodic television as a newer writer.

Personally, I also feel like writing features helps develop a writer’s range and voice more, because you’re responsible for the entire arc and execution. Rather than focusing on episodic series writing from the start, which I sometimes feel might limit that range early on, writing features seems to build a broader skill set that could make transitioning into series writing easier over time.

Do you agree with this perspective?

Spencer Robinson Nice post. What if you want to do a reboot because you KNOW you're the guy, you have a litany of experiences that can drive at least five seasons, but the show hardly made it through two seasons? And, it's been dead for a decade+?

Thanks for this Spencer Robinson. The interesting part is that you mention it's easier for you to sell big animation features from new writers while I've been told by other managers that there is currently only an interest in established IP or that the market is flooded with sci-fi animated projects.

Is animated sci-fi currently being bought?

Spencer Robinson Just messaged/connected.

Leonardo Ramirez Never said it’s easier to sell big animation features from new writers. Not sure where you got that from.

Kevin Enners Do you have experience in a TV writers room, or have you sold big features?

Blake Farris huh?

Dwayne Williams 2 No, I don’t agree that writing features makes someone a better tv writer.

Spencer Robinson from your response to CJ Walley: "You can also sell a big feature with no credits. Doesn't have to be a small indie. It's actually easier for me to introduce someone who writes big studio-type movies to the whole town quickly." If that's not what you meant, no worries.

Separate question: is animated sci-fi being purchased?

Spencer Robinson Appreciate the insight! Quick follow-up questions:

Referencing your line that writing features “can also excite the TV buyers, and allow you to be in a better position to sell,” how does a newer writer actually become a stronger TV writer without much opportunity to practice in that format early on?

Also, when you're giving this advice about focusing on features first, are you speaking mainly from a domestic (U.S.) market perspective, or do you feel the same approach applies to international markets as well?

Spencer - I have been developing my limited series for over thirty years - long before anyone in Hollywood took note of the women pilots in WWII. I knew the real women, interviewed them for Paul Allen's (Microsoft billionaire) "Flying Heritage Collection" and attended all their reunions. I also have 30 years of research under my belt. There have been many attempts to tell the story about the women pilots in the U.S. - all have failed to go forward, including one announced four years ago by Renee Zellweger. My story intertwines the women flying in England, the U.S. and the "rest" of the Tuskegee story not told in the two Tuskegee Airmen films. I have IP and story rights but getting past gatekeepers and educating Disney on their IP have been elusive. I know of every attempt to make a film in Hollywood and I know there are numerous scripts out there - but none are like mine which is endorsed by the families of these women and the archives. It is time for my story to rise to the top.

Deborah Jennings Ok

Dwayne Williams 2 Writing features doesn't make you a better TV writer. Selling big movies, having hit movies makes TV buyers want to work with you. When you say International, what do you mean? That is a huge word. Is there a certain country that you are looking to work in?

UPDATE: After seeing all these replies, I just want too add something. People keep commenting "but my idea is XYZ" or "I'm the one to tell this story," and it doesn't matter. As I said, TV buyers are averse to buying from new writers. If you want to sell, you will need to go in very packaged. Please stop suggesting 50 different ways that your case is special. I cannot answer the same question 50 more times.

Spencer Robinson I am not well-known per se. Though I have not worked in a real Writer's Room, I have collaborated with fellow screenwriters. These projects were small-budget and were pitched to Atlanta-based studios. No big names were tied to them. Would you suggest targeting larger production studios?

I would like to meet Ryan Murphy, I have an idea for a TV series to go along with American Horror Story and it's spin-offs: American Crime Story, and American Sports Story.

Spencer Robinson Thanks so much for your patience and everything you've been expanding on. If someone has been published with novels, comics, etc- does something of that nature lend itself to being more likely looked at if they're new to scriptwriting- or is it more of a hindrance than say a new writer to the industry as a whole?

Kevin Hager sorry, ideas are worthless. That's why you can't copyright an idea. You need to have a script, a bible and even there, what's the likelihood that Ryan Murphy says 'I'll make your show instead of mine?' I'd recommend creating something that's uniquely yours which shows off your unique voice. Ideally based on an IP you control (even if it's your life or someone else's life, or a concept we haven't seen before).

Spencer Robinson I like that mindset — “selling big movies.” I love approaching it from that direction. For international, I was mainly referring to markets like China, Japan, and South Korea.

Also curious from your experience: what exercises, techniques, or insights would you recommend for becoming a stronger TV writer, both for baby writers just starting out and for more experienced/master writers?

Kevin Hager Ok

Kevin Enners Targeting them for what? TV?

Cynna Ael Not sure what the question is. Nobody is going to look at it negatively. That would actually be an insane thing.

Spencer Robinson, I’m curious about something that comes up a lot for baby writers. When people say “get a manager” or “make connections,” what are some of the practical ways you’ve actually seen writers start those relationships?

It seems like cold outreach to managers or showrunners is usually a long shot, and the standard advice tends to be referrals, contests, fellowships, etc. In your experience, have you seen any less-obvious paths where a newer writer broke through and got the attention of someone who could help move the ball down the field? I’m curious if there are practical approaches that don’t get talked about as much.

Steven Kirk Meet as many people as you can, but there are also WGA events, AFI events, etc. There are zooms you can be a part of. There are groups of writers on social media platforms. I feel like these are all obvious.

Spencer Robinson, you are a very patient man.

Rob Lindsay You mean because of the comments?

@Avril David - "Spencer Robinson - thank you so much for your insightful post and thoughtful responses. I have a question - let's say there was a very fortunate baby writer who was able to get their tv pilot script read and land a meeting with a reputable production company. What advice would you give that writer for when they're in the (virtual) room? What do the executives want to know before moving forward? ...and what are some ways they might move forward if the writer in question has no representation? :)" looking forward to this reply.

This thread is so rich it might as well have been a Spencer Robinson AMA LOL

Hahaha, I thought the same thing, Kevin Jackson. It's filled with invaluable advice and insights.

Dwayne Williams 2 Are you talking about a general or a meeting about that project?

Thanks for mentioning my question Dwayne Williams 2! Hey Spencer Robinson! It was a meeting request after a first 10 page read of a tv pilot script. They said the purpose was to talk about the pilot and what else I’ve been up to. At the end of the meeting they asked to see the pitch deck, a couple of my other scripts, and said they’d get back to me. Hope that’s good lol. For future reference, what is an exec likely looking for in an initial meeting about a pilot script they’ve read from a writer without credits or representation?

Avril David You say "hope that's good" like it could be a bad thing. Not sure why. Anyway, was it with a potential producer? Manager?

Thanks Spencer Robinson. It was a potential producer.

Avril David Then did they have you pitch the series? If they were interested in that pilot, why did they ask to read others?

Spencer Robinson yes, great question. I don’t know. We talked about the series first, then a bit about my writing and other scripts (all features). They liked two of the feature script loglines and asked me to send those in addition to the series pitch deck.

Baby writer here! My question is: in regard to agents/managers, how much of the process is based on looking for a sellable script vs. a sellable writer?

Shylah Addante It's all of the above

Dear Spencer, since you live in USA. How difficult would it be to sell a Nordic TV mini series in USA?

5 hours for children. Sweden's public service television company likes my idea. And I found a production company which appears willing to produce.

No, no decision has been taken, but it looks optimistic. With my background in no-budget filming, I have learned how to do. While somebody else is willing to pay.

Now I try to figure out how to maximize the possibility to export.

https://en.wikipedia.org/wiki/Nordic_Christmas_calendar

"Nordic Christmas Calendar" are extremely popular among children in the Nordic countries but are normally not broadcasted in the rest of the world.

So please tell something about exporting to USA.