How to Develop, Pitch and Sell a Kids TV Series for a Streamer or Network

Hosted by Kirill Baru


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Kirill Baru

Webinar hosted by: Kirill Baru

Sitcom Writer and Producer (BABY DADDY, SYDNEY TO THE MAX)

Kirill Baru is a sitcom writer and executive producer who’s staffed on and sold a variety of live-action and animated comedy shows. He’s written in the adult space, where he’s produced series like Freeform’s BABY DADDY and the critically acclaimed animated show DAN VS. on the HUB. He’s also written and produced several series in the kids space, from Disney’s SYDNEY TO THE MAX to Cartoon Network’s MAD: THE ANIMATED SERIES. When Kirill isn’t staffing on shows, he’s developing projects with networks such as Disney and Netflix. He attributes his career to writing comedy that finds a way to have a lot of edge without ever losing any of its heart. Full Bio »

Webinar Summary

If you've watched Netflix regularly, you are familiar with their top 10 list - and if you watched Netflix in the past few months, you've more than likely noticed that kids TV content like COCOMELON, CARMEN SANDIEGO and HENRY DANGER consistently dominate the platform. The truth is there's never been a better time to get involved in kids' TV, especially since networks and streamers are actively looking for new content. Yet in order to write successfully in this space or find success with your own show, you have to know who you are writing for in order to do it well. When writing for kids, you need to be just as knowledgeable and intentional on your approach as you would with any other audience. Just like adults, there are certain aspects to master on how to craft a good and engaging story that younger audiences will latch on to.

When writing for kids, you may feel limited in the elements you can include in the story. However, it’s important to remember that when you are writing for kids, you are really writing for a family experience. Kids often watch television with their parents, therefore, it is important to get an understanding of how to write engaging stories that will appeal to all viewers. In order to do this, you need to know what kids are looking for, and how your story aligns with the market’s demand. You not only need to have a compelling story that connects but the tools to pitch and sell your story to producers to get them interested in bringing your project to life. We have the tools and strategies to help you venture across this bridge.

Kirill Baru is a sitcom writer and executive producer who’s staffed on and sold a variety of live-action and animated comedy shows and has written in the adult space, where he’s produced series like Freeform’s BABY DADDY and the critically acclaimed animated show DAN VS. on the HUB. He’s also written and produced several series in the kids space, from Disney’s SYDNEY TO THE MAX to Cartoon Network’s MAD: THE ANIMATED SERIES. When Kirill isn’t staffing on shows, he’s developing projects with networks such as Disney and Netflix. He attributes his career to writing comedy that finds a way to have a lot of edge without ever losing any of its heart.

Kirill will provide you with a wealth of knowledge and resources on how to successfully craft your TV series for Kids. Kirill will give you an overview of Kids Comedy series and where your series fits in today’s market and discuss some unforeseen obstacles you may face. He will also give you tips on writing for Kids TV such as what kids are drawn to, how not to talk down to them, the difference between Nickelodeon and Disney, how to use POV to your advantage and much more. In addition, Kirill will also teach important aspects of pitching and selling your Kids TV - what makes it different from pitching adult TV, how to create something that kids have never seen before but that is familiar, and the power of co-viewing. Once you have completed this webinar, you will feel much more confident about writing and packaging your Kids TV series and making it market ready.

Kirill will walk you through the pitch document he created for his show EAGLETON ESTATES that he successfully sold to Netflix Kids and provide you with homework of what your next steps should be to sell your own project.

What You'll Learn

  • An Intro to Kirill
  • An Overview of Kids Comedy Series
    •  The market today-who is buying, who is selling, where could your series possibly go?
    • What does a day and season look like on a kids multicam?
    • Obstacles and constraints that you might not realize
  • Tips on Writing for Kids
    • What are kids drawn to today?
    • How not to talk down to kids
    • Nick vs. Disney (Bugs vs Mickey)
    • Good people vs bad people
    • Relatable vs aspirational
    • How to Use POV to Your Advantage
    • What it means to avoid gas and brakes relationship
    • Suspense vs surprise
    • Writing Effective Main Characters.
    • Writing Effective Secondary Characters
  • Elements of a Pitching and Selling Your Kids TV
    • What makes these pitches different than pitches for adult TV
    • Creating something kids have never seen but has an air of familiarity.
    • Creating an episode factory
    • Pitching characters
    • Semi-serialized vs syndacatable
    • The power of co-viewing
    • Competing with YouTube
    • A note about toys and merch
    • Kirill will walk you through the pitch document he created for his show EAGLETON ESTATES that he successfully sold to Netflix Kids
  • Final Thoughts
    • Homework you should be doing now to prepare to write and sell your own project
    • 5 more minutes
    • 3rd heat
    • What does a good day look like?
  • Q&A with Kirill

About Your Instructor

Kirill Baru is a sitcom writer and executive producer who’s staffed on and sold a variety of live-action and animated comedy shows. He’s written in the adult space, where he’s produced series like Freeform’s BABY DADDY and the critically acclaimed animated show DAN VS. on the HUB. He’s also written and produced several series in the kids space, from Disney’s SYDNEY TO THE MAX to Cartoon Network’s MAD: THE ANIMATED SERIES. When Kirill isn’t staffing on shows, he’s developing projects with networks such as Disney and Netflix. He attributes his career to writing comedy that finds a way to have a lot of edge without ever losing any of its heart.


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