Screenwriting : Too much, too soon by Shanika Freeman

Hi, Shanika. I found a person (a script supervisor on a hit sitcom) at one of the networks who had written to me to tell me that she loved the concept of my stories (see "My Black and White Family" on my profile) and she called me to discuss it. She offered to act as my "cheerleader" at the network and within a week she put me in touch with a Producer who agreed to meet me for lunch. We met for 90 minutes. The meeting was very productive and the meal was great! She listened to my pitch and we talked about many things of mutual interest. It went really well and she offered a few suggestions for improving my scripts. I listened and did exactly as she suggested and now my series has moved up the ladder and I'm much closer to having it accepted. The key, for me at least, was finding that one individual in a studio who shares my vision. And don't forget that those people who are low on the chain of authority are with the producers and directors who make the ultimate decisions every day. I learned from 35 years in the non-profit world that even secretaries can be great cheerleaders for you. And by the way. My series has 16 30-minute episodes and 3 one-hour episodes written and ready to go. The networks appreciate having more than one script to choose from. They might reject some or even all of them, but at least you made their jobs easier. Good luck.

Ah, yes and no. As Richard said, there will likely be changes. The more you write, the more you'll have to change. Once your series is approved, a team of writers will be hired, which you may or may not be a part of. More heads means more ideas, and more productivity in order to keep up with the demand for new material a series requires. Because of all of that, the likelihood that the follow-on episodes you wrote will ever be used is small. What you need is a strong pilot episode that shows the strength of your idea and the strength of your writing. A strong pilot will get meetings, and in those meeting you will discuss the direction of future episodes and demonstrate that your concept has the legs to run for years. Good luck.

Shanika - You only need a pilot to sell a TV show. I would advise you to please, NOT writing any more episodes, here's why... A TV show needs a Showrunner to run the show. The Showrunner will create a writers room. The writers will break stories and write for the show. Also the following will impact you as a new writer... No one knows who you are (no offense intended) What if your scripts are not very good (no offense intended) What if your show is not viable for TV. Writing takes time and writing multiple episodes is not cost effective, unless you are making the shows yourself. You should however write a TV series pitch, which outlines the characters, backstories and future episode ideas. Think of it as a business plan of your show. Then, concentrate on writing another pilot, then another and another.

The chances of not being part of the writing staff/team or not having much say in it, scares me a little. I guess I have to break down this 'ego' and be more open. I love receiving constructive criticism, as it helps me improve, but having little say in the progress is a little frightening. Thank you, all, for responding. Being new to this side of the industry is overwhelming , but getting advice from fellow writers really makes this journey a easier. Another question. I do not intend on living in LA (I would like to move to NYC and focus more on my stage-plays) , how will that affect networks/agents willingness to take on my projects/work?

I would say at least two or three, in case you get that dreaded question, "What else do you have?" By the way, that dreaded question means they like your writing, and though the project you're pitching isn't for them, they're hoping something you have is.

If your intent is to be part of the writing room, you need to live where the show is being shot. There are some shows produced in New York, but most are shot in L.A. That shouldn't affect your ability to sell shows though. If what you have is what they want, they'll buy it

First the living in L.A question: Selling a series to TV is a long term commitment. Living in the area is essential. People love to hire people they know. And since you are not just dropping of the scripts and moving on you will need to live in L.A. to develop, sell and run your show. Second the "ego" issue: Selling a series to TV is a long term commitment. A more productive method would be to write episodes of existing shows, get an agent based on those samples, work as a freelancer then staff writer and THEN pitch your series. That way you will regain more control. In TV, unlike films, the creator, the "show runner" is the boss. You will not start at the top. In my opinion, yes; you are writing too much, too soon, and the wrong material needed to break in.

In an update to D Marcus' second point, most agents/managers/show-runners these days don't want to read episodes of existing shows, they only want to read original pilots. The thinking is that it's easy to copy a template, but can you creatively contribute. To sell a TV show you will need an agent and/or at least a lawyer. This is the time you negotiate your position. If you have good reps, you could get co-creator with a showrunner and exec producer credit and all the trappings that come with. If the show makes it to pilot and is accepted by the network to series, you will take up ypur negotiated position on the show. Writing on staff requires skill and talent that comes through writing experience. Your work has to be good enough to deny another writer a job. They are investing time and money in a writing team and you will be required to write an episode in a very short time and you CANNOT be late. If this is your first venture into writing and TV is your passion, keep writing to hone your skills and increase your writing speed.