Screenwriting : Writing Multiple Episodes of a Show by Spencer Robinson

Hi Spencer, I as of right now am writing episodes for a show I want to do. And I think everything you said is valid. I write these episodes as a better way for me to understand which way I want my story to go. However, I love feedback, and if ever given the chance, I happily take critics from professionals. I don’t see myself as controlling other than one thing, certain character arcs must happen, and certain story beats cannot be taken out, but as far as dialogue, and writing. I know I’m not the most qualified in that field. The only question I have for you is that if you could, read my work. It’s not perfect, and far from refined, but I’d love for someone to read it. Thank you for your time.

On the other hand, when writing a 30 min comedy, it's a great idea from the writer's perspective to write the first three episodes because it helps the characters, the development and helps get a bible off the ground. I recently wrote a comedy called 'Ponzie's Schemes' about a 10-year-old conman and his dysfunctional family. It was so much fun I will probably write even more episodes. But in general, I agree with you and the same goes for book series - don't do it unless you can't stop yourself.

This post feels a little targeted.

Not saying it’s about me… but several fully written episodes on my laptop just looked up nervously.

I genuinely thought writing a whole season showed initiative. Apparently it mostly shows I should have been stopped by a responsible adult around page 60.

Duly noted though. I’m sharpening the pitch and bringing a pilot that travels solo like a responsible script.

Don’t worry - I’ll be back with another pitch soon.

And if it gets rejected again, I promise not to write Season Two out of spite.

I've wanted to say this SO many times! But I figured, hey, if that's how you want to spend your time, knock yourself out!

cool

I don’t write for television, so this doesn’t apply to me, but I don’t see any time spent writing as “wasted.”

I adapted two novels that I don’t own the rights to for screen because I wanted to learn the process. No intention of ever doing anything with them, except that they were a valuable part of my training.

So maybe write the series if that’s what you really want to do, but don’t get too attached. :)

(And, shhhh! Don’t tell the managers!) ;)

The takeaway here seems to be - Write as many episodes as you're comfortable writing, so as to get a good sense of what you want to do with the show. Then hide them all away except for the pilot. Don't mention the extra episodes, but keep them in your back pocket to help you defend your vision during the "collaboration" process.

One pilot + a bible/deck. That’s exactly what some people recommended to me, and that’s what I did.

Thank you for the advice. I really appreciate it.

Jayden Jeanmarie if you book a consultation through Stage32, sure. Also, please don’t write more episodes. Just lay out the arcs for the characters in your season.

David Taylor Just going to repeat myself. You don’t need to write more episodes. You can create a pitch without doing that.

I usually try to answer every question, but I just don’t feel like repeating myself, so this is the last time. You don’t need more eps. You also don’t need to write full episodes to know where you want the show to go. If this is something you believe, I challenge you to sit down and work on the major character arcs for your season instead.

Charlie Solomon Hey, I respect wanting to show initiative for sure, but what it shows me is that someone is green, and hasn’t taken the time yet to learn how TV works.

Deborah Bete So glad you found out what you needed and did it!

I mean, did I write a full limited series because I couldn't stop myself? Yes, yes I bloody well did hah! But, knowing what I know now, I understand why writers rooms exist - but, my question is, can a show runner take my idea and absolutely annihilate it with a completely different storyline? I think that's my fear - that the storyline is so far removed... it's tempting to go indie, but I wouldn't know where to start.

(After that show, I started a wider universe, pilots only, bibles etc...)

(Hopefully I haven't made you repeat yourself, I did read through your answers!)

My compromise is to develop the pilot by including loglines for the rest of the season. Even writing out scenes and yes, writing more episodes. Oh my. But no worries. It is just a way of talking to myself about the pilot. I let my characters tell the story. I don't have a choice, that's just how it happens. They really can twist my intensions into knots. I have so many questions for them. Anyway, for all I know, in the end, the darn pilot might make a better act one of a stage play. So when we simply say make the pilot and a killer pitch, someone might have a reputation, and might have been in the writer's rooms and might have a solid process for developing pilots and killer pitches. A professional. That's awesome. For beginners, needs can be different. A lot more might goes into the making of the "efficient" pilot + killer pitch process. Eventually, beginners progress. Maybe even wind up selling a pilot or stepping into a writer's room. I'm enjoying a book titled:"Comedy Samurai", by a writer named Larry Charles. It's very educational about writer's rooms. Highly recommended. Just thought I'd add this here, as I am a beginner. At any rate, no matter your skill level, it's good to have a lead horse showing the way. Be a mentor/find a mentor. Best to all.

Emilia-Maria You’d be working with a showrunner. The idea is to find someone who wants to oversee you on your vision, not change it.

Spencer Robinson yes, those are pieces of advice I received elsewhere as well, so it’s reassuring to see a professional like you recommend them too.

Right now I’m finishing the deck for my feature film while continuing to work on my pilot. After that, I’ll move on to the presentation for the series bible.

I see you want to challenge me to a dual. I accept, knowing your strengths and mine differ greatly and that you may not even see my strengths as strengths. I guess legacy and immortality factor in for me less than dollars or cents, as tough as survival is for any artist. It's definitely a tradeoff I'm willing to fight for as long as I live. I like scripting shows. I am also available for the group setting of a TV Production. I am not asking directly for money to purchase my script. In fact it's not for sale. There are those in the business of selling horses and those who love their hors. I do not judge. I am as willing to ve your writer as I would be happy for you to be my producer. Iow, I'll write your show, you produce mine.

Thanks for the weather report. Now I'll go about building houses, rain or shine.

https://open.spotify.com/show/3SIaSSlWgGn0X9rgRccIT9?si=muFC7aRyTWiQgncY...

https://www.facebook.com/share/17AztTTo3t/

These words are so true and you are schooling people in the most clear and concise way.

Spencer Robinson This post really resonated with me, Spencer. I’ve always been careful not to “pre‑write the room,” but I also come from a lived‑experience story that forced me to move through a few different mediums before I understood what it actually was.

The Bushmen started as a book, then a feature, and eventually I realized the only honest way to tell a true ground‑level story about the culture, rituals, danger, absurdity, and emotional cost of that world was through a series. It became my way of saying goodbye to that chapter of my life and transitioning into the next one.

Once I understood the medium, I focused exactly on what you’re talking about — one pilot, a clean pitch, and a clear series map. No additional episodes. Just the architecture.

I’m also very music‑minded, so the sonic identity of the show (for me, Every Time I Die) is part of the emotional logic, not a playlist. It’s the pulse of the world, not decoration.

And honestly, the part I respect the most is the support I’ve received from my peers — the guys who lived it with me. I never expected that level of trust, and it’s an honor to feel like I’m carrying something for them. That’s a responsibility I take seriously.

Your post is a great reminder that ambition is good, but discipline is essential. Appreciate you laying it out so directly.

Spencer Robinson - Just to be clear, I was joking around. No offense intended. I actually appreciate you sharing knowledge like this for free. A lot of people charge for the same advice.

Also, for the record, I have now safely locked the extra episodes in a secure folder labeled “Do Not Frighten Managers.” JK again

Marc Ginsburg I have no idea what you’re saying.

Thanks Spencer Robinson, that puts my mind at ease!!

Hello Spencer Robinson, thank you for taking the time to share insights and help creatives around the world sharpen their craft.

I would love to hear your perspective on what a “killer package” typically includes from your end. Are there specific elements or a structure you look for that make a package truly undeniable?

Thank you for your advice, Spencer Robinson. How does this apply to feature films?

Would you encourage the Pilot writer to include (in Synopsis, Cover Letter or Pitch Deck) their brainstorm list of potential follow-on episode titles to convey a compelling life/longevity of the potential series? My instinct has been, include those 25 episode titles to validate the series would have a creative future. If advisable, how is it best to provide one's list of potential episode titles to support their Pilot?

Cole Potter Those titles don't mean anything to anyone but you, so no, I would say including them is a big waste of time. Not sure why you think that titles show the future of the series.

Libby Wright This is a post about TV, so it doesn't apply to features.

Dwayne Williams 2 Nothing is undeniable. I'm going to throw it back at you. What elements do you think would be good for a writer with no credits to have when you go to buyers?

Hi Spencer Robinson , Please don’t laugh, but my main project is a three-part feature film trilogy. An Australian producer suggested that I also try to adapt it into a limited series with a pilot, because it might be easier to sell that way. So I did it — maybe I’m a bit obsessive. :/

All three parts of the trilogy are already written, though they still need development and refinement. Based on feedback, I’ve revised them several times, which is why I haven’t written the pilot episode as a final draft yet. I feel that writing a pilot really makes sense once the underlying story is fully developed.

At the same time, I’ve also heard that producers can find it appealing when a story already has a full arc, or even multiple parts completed.

So I’m curious: how do you know when a story is truly “finished”? Writing is such a subjective process, and it often depends on the reader’s perspective or the feedback you receive, so it’s hard to say when a work is really complete.

Spence, we're writers. That's what we do. If we were primarily about making money, no way would we be writers. I think most of us would rather, if we had a choice between a seven-figure check for an option and a $5K check and see it made, we'd take the $5K and see it made. If we wanted to make really good money, which is subjective, being a writer of any sort is generally not the way to do it. You can't tell us to just write a pilot and then move on until the writer has written enough and learned not to become married to what they wrote. However, after writing for some 30-40 years, I decided to do an 8-part limited series anyway. Because I had to get it out of me. In Europe, they don't do writer's rooms. If one looks at the credits for a 4-8-episode season on the BBC, it's created and written by the same person. And generally that's more solid than a 13-22 episode slate of mini-side stories like Blue Bloods or the new Hawaii 5-O. 4-5 tiny stories that don't have anything to do with each other. The L&O franchises are generally the same bunch of people. A tight group. However, if one wants to be a TV writer with the hopes of moving up the Hollywood ladder, more power to you. If you want to be or stay a writer because you're passionate about it, L.A. doesn't give a crap about your passion or you. Remember, these are the people who need pitch decks and trailers because they don't generally have a lick of imagination. This is why Denny's has pictures of food on their menus so they know what they're getting.

I agree Spencer Robinson — nothing is undeniable in this business. For me personally, as a creator/one-person studio with no credits yet, I try to focus on presenting the strongest possible package so buyers can clearly see the vision and potential.

What I usually put together is a full IP bible that includes a scriptment, the script itself (sometimes attached with experienced writers), a pitch deck, a worldbuilding deck, and storyboards that map out the entire story visually. I also include slides for original weapons, utility systems, or mechanics that are unique to the world, along with artwork that avoids AI duplication issues, so the designs are harder to copy or impossible for AI to copy if necessary.

I also include location planning. If I’m using real-world locations that could actually be filmed in, I’ll render and design those locations visually so producers can immediately see how the setting translates to a real production environment.

If it fits the project, I add music from artists and music studios I already have relationships with or co-founded, so there’s already a tone and sound attached to the world instead of leaving that piece undefined. And if the concept has franchise potential, I’ll include loglines and short synopses showing the direction of possible spin-offs or expansions.

For anime especially, I’ve found that showing the full ecosystem of the world can help communicate the scale and long-term potential. Putting a package like that together usually takes me less than a week. Though I never do episodes. :)

What has your best "killer package" included?

Dwayne Williams 2 None of those things are part of a package. Showrunner, director, talent. The rest of what you're talking about is actually not that important.

HI Spencer Robinson ...thanks for your continued effort at helping writers, especially an inexperienced one. I am sure it feels like a thankless task many times so kudos to you, it is much appreciated.

I think many new writers view Stage 32 as a lifeline for access and if they buy the products offered that there will eventually be that person that sees it and falls in love with it and champions it. I believe many are interpreting your comments (rightly or wrongly) that if we are a new writer, regardless of the amount of products we purchase, the validation we get from industry professionals that the pilot is indeed good to great, or contacts we make and cultivate that is is highly unlikely that is going to result in us selling a TV series. That's not a message we are used to seeing so I actually find it incredibly helpful to read and internalize.

You have mentioned a few times the idea of making contact with a Showrunner. Is there one way that seems more productive than others in trying to establish meaningful contact with a Showrunner? I have presumed that getting a Showrunner to engage would be much more difficult than a Producer or Manager and I have had very minimal success in establishing relationships with Producers or Managers.

Thanks again for the feedback and the truth of the your message - even if it isn't a pleasure to face, it is helpful to hear.

Darrell Pennington No, there is no one-stop shop for meeting showrunners.

Thanks for the clarification earlier, Spencer Robinson. When you asked what I include in a package, I was referring to my creative IP development package for features/anime before any attachments or funding, mainly to show the broader world and how the IP could expand across different formats. From your perspective, what tends to attract real attachments faster — a strong standalone script, or a broader IP that demonstrates multiple ways the property could be used and expanded? Also, I’d love to hear if there’s any difference in how you view creative IP packages for TV versus feature films.

I think you can write rough ideas for other episodes, particularly if you have an idea for future storylines.

That said, I hear you about the collaboration process. I wouldn't necessarily use the entirety/much of those rough drafts, knowing some things don't work and also because I value the input of other writers and wanting the writers to bring their own contributions and thoughts.

Basically, as a balanced take, I think it's okay if you have an idea of where you may want to go but keep an open mind. Plus, one of the benefits having other writers is this they are key to helping provide information one person themselves may not have. I really don't tend to write past the pilot for that reason as my knowledge is limited and I want to team up with other writers in that regard.

Samuel Lebow ok

Dwayne Williams 2 I've answered like 20 questions for you.

Spencer... way to get the community going! I agree with you! In my experience working with emerging writers, hearing that someone has written multiple episodes of a show they hope to sell is almost always a red flag... It often signals a misunderstanding of how television is actually built.

For newer writers, the real focus should be on crafting a killer pilot and a clear, compelling series engine. Those are the materials that demonstrate voice, concept, and longevity - the things potential collaborators and buyers actually respond to.

I know many writers see writing a full season as being “ahead of the game,” but in reality their time is almost always better spent developing another strong sample or project.

Sometimes the most valuable guidance we can give writers is helping them focus their energy where the industry actually evaluates them.