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How To Write For TV: A Step-by-Step Guide To Starting Your Career

And Why Feature Writers Should Write A TV Spec Too

 

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May 24, 2017 72 comments
how to write for tv

In this post, we’re going to show you a step-by-step guide on how to write for TV.

We’re also going to dispel many of the myths and confusion surrounding writing TV scripts because, as an aspiring screenwriter, you may have noticed there’s quite a bit of contradictory advice and confusing information out there regarding writing for television.

  • Should I write a TV spec script if I’m a feature writer? (Yes)
  • If I want to start writing for television, should I try writing a TV show that’s already on air, or an original?
  • What about single or multi-camera?
  • Network or cable?
  • How should I format a TV script?
  • What can I do to break in to television writing once my script’s done?

We’ll be answering all these questions and much more below. So let’s get stuck right in.

If You Want To Get Into TV Script Writing You’ll Need A “Spec” Script (Or Three)

Just like in the land of features, if you want to break in, you’ll need a “spec” script— i.e. a script written “speculatively” that showcases your talents and can be used as a calling card.

In TV, there are two main types of spec script:

  • “Spec episode” for an existing TV show
  • “Spec pilot” for an original TV show

Let’s take a quick look at both of these in turn.

How To Write For TV: The Spec Episode

How to write for TV

In the world of TV script writing, a “spec” usually means a sample episode of an existing show. It’s also known as a “TV spec”, “sample episode”, and “spec episode”, and for the sake of clarity we’re going to use the latter.

Writing a spec episode is the traditional way writers use to break into television writing, but it’s less in vogue now than a few years ago. This entails writing an episode of an existing TV series that showcases your ability to write current characters that people know and love, in a way that feels real and familiar, yet fresh.

It means writing characters with pre-set voices and personalities in order to demonstrate that you are not only a powerful writer with an imagination, but also one who can follow the rules, and this means following the show’s formatting structure and overall “voice” of the show.

Writing a spec episode of, say, Modern Family, would require you writing all the families as we know them now, with their quirky character personalities, breaking the fourth wall, documentary style, etc. and all within intertwining, compelling and funny stories.

A while back, this was by far the best way to break into writing for television. You’d write a spec episode of a series you loved, and then submit that work through your agent or manager for consideration for a staffing position.

How to write for TV

If you “totally got” the way Ross and Rachel bounced off each other, or had a terrific take on an episode of Law & Order, and you were able to execute a sample script of those shows with confidence, then chances were pretty good that you would be happily considered for a staffing position on that show, or a similar one.

Executives and showrunners would hire writers who could effectively emulate the tone and voice of the show they were staffing, and a spec episode was the best way to measure that ability.

But times have changed, and so too has the professional strategy for breaking into television writing. In Hollywood today, spec episodes are much less popular than they used to be, and some showrunners now only read spec pilots for original shows.

This is not to say, however, that writing a spec episode is a complete waste of your time as you’re still building your writing chops, and will also be able to use it as a sample of your writing ability that could get you noticed.

Fellowship season (more on this later) is a prime example of an avenue you can pursue that looks exclusively for spec episodes from exceptional aspiring writers. But let’s bring things up-to-date with another strategy you can use to begin a career writing for television…

How To Write For TV: The Spec Pilot

How to write for TV

This is a TV script written on spec for an original show you’ve created from scratch and is also known as an “original spec”, “sample pilot” or simply a “pilot”. Again, for clarity, we’ll be sticking to the term “spec pilot”.

It’s easy to imagine that writing a TV show that’s compelling and original is as simple as writing a feature screenplay, but shorter. Unfortunately, you’d wrong on two counts: not only is writing a feature about as difficult as it gets, but writing a television pilot is in some ways even more difficult.

Sure, the page count is slimmer, but the reality is a pilot functions as a seed for the series it’s jumpstarting. And in order to write a pilot that works as both a writing sample, and a potentially salable and produceable series, you have to consider the rest of the tree before you even plant the seed.

Whether or not you intend to write a TV series for a network or cable, the most important element is that you bring your own voice to the project, and make it as unique as possible and stand out from the stack of other spec TV scripts on the desk of any rep, producer or executive who you might submit to.

It’s no secret that we’re going through a “golden age of television”, and that bold creative choices not only garner critical praise, but also earn high ratings, and draw attention from not just audiences, but executives and producers as well.

In other words, television that makes bold creative choices are good for business. Shows like Master of None, Stranger Things, and Atlanta, have inspired networks to pursue standout ideas and original voices. All of which means showing that you can emulate a show’s voice has become much less valuable than demonstrating you have a unique point of view and the ability to tell an original narrative in exciting ways.

Can I Break Into TV Writing By Selling A Spec Episode Or Spec Pilot?

how to write for tv

Spec feature scripts are written with the intention of being sold and produced. Or at least function as a calling card to showcase a writer’s ability. TV specs, on the other hand — both spec episodes and spec pilots — are generally used solely as calling cards, with the ultimate aim of getting staffed on an existing show.

Just as no one is going to actually film your spec episode of Game of Thrones, it’s super unlikely that anyone is going to buy and produce your original spec pilot. Only a select few have been made in this way, with Mad Men, Glee, and It’s Always Sunny in Philadelphia, being some that spring to mind. And even then their route to the small screen wasn’t a traditional one, in the sense of being shopped around and bought.

The Mad Men spec pilot was written by an established TV writer, Matthew Weiner, who naturally had all the right contacts in place and was able to sell it to AMC. Glee was written by an undiscovered writer but as a feature, which then found its way into the hands of Nip/Tuck creator, Ryan Murphy. And It’s Always Sunny in Philadelphia was a short film, made by and starring a bunch of LA actors.

The TV specs that do get bought, tend to be by writers who have a track record, either in TV (Mad Men / Matthew Weiner), or features (Crisis In Six Scenes / Woody Allen), or both, so don’t fall into the trap many aspiring TV writers make of concentrating on writing a spec pilot with the sole aim of selling it and getting it produced.

Never say never, of course, but the problem is that there is no traditional “spec market” in television that operates in the same way as in the feature market. So keep in mind that execs and producers are not really looking for that next big TV spec idea from aspiring writers as they do everything in-house.

Which TV Scripts Should I Write Then? A Spec Episode Or Pilot?

How to write for TV

The answer to this is that ideally you should have both. The odds of writing an original pilot, having it be purchased, produced, be ordered for a run, and be the showrunner or even an executive producer are astronomical, even less than selling a feature spec. But having an original pilot is still important.

An original pilot shows what you can do when it comes to creating fresh new worlds, marketable concepts, and original characters. Fresh voices are always sought after, and always welcomed. Just like in the land of features, your voice and your view on the world, is what makes you stand out on paper. So we advise writing a spec episode and a spec original pilot to show the breadth of your talents, and to give yourself the best possible chance of getting staffed on an existing show.

As someone looking to start a career writing TV show scripts, we also recommend creating a portfolio that tonally compliments itself. In other words, write an original spec pilot of a show that tonally and thematically explores the same areas as your spec episode of an existing show.

For example, let’s say you’ve written a dark spec pilot that really pushes the envelope when it comes to crime drama. In this case, you’d probably do well to spec an episode of, say, Sneaky Pete, which shows your ability to also handle more mainstream TV sensibilities.

Let’s now take a look at six steps you should take when learning how to write for tv. These are the fundamental questions that should get you started as you consider how to write a script for a TV show, whether that’s a spec TV episode or pilot.

How To Write For TV Step #1: Decide Where You’d Feel Most At Home

how to write for tv

Imagine for a moment your ideal TV writing gig… Are you staffed on a network channel like ABC or NBC? Or on cable, i.e. on a show airing on HBO or FX? This is a crucial distinction, as your answer will dictate the tone and style of spec TV scripts you’ll be writing.

NETWORKS

If you think you’d feel more at home writing for a network, you’ll be defined by a sense of (for lack of a better word) conventionality. These channels are the homes of work house series that rarely veer too far from a relatively rigid format.

Think of shows like Grey’s Anatomy or Modern Family. If you consider their structures by breaking down individual episodes into specific beats, you’ll find that they follow the same arc in almost every episode. While it might sound like this would make these series easier to write, the opposite is most often true, as finding a series that will function on the 500th episode in a fashion similar to its first episode is a taxing process.

Best Screenplays To Read

CABLE & STREAMING

If, on the other hand, you think you’re more of a cable or specialty homes type of writer (think streaming services like Netflix and Hulu), your work will have more scope for originality. This medium naturally invites a more exciting degree of novelty as it allows the writer to branch out from traditional structure for both comedy and hour-long drama. In this space you can let your wildest creative impulses guide you in a more broad and expansive direction.

Look at a series like Atlanta, or True Detective, or Insecure. These shows upend convention and focus more specifically on the creator’s unique voices. They play around with audience expectation, giving us one-off episodes that follow secondary characters, their protagonists and worlds are often reflective more of their creators’ worldview than any expectation of what a show “should be like”. A worldview which is often imposed on new writers by network and studio executives.

On a more pragmatic level, cable shows offer more flexibility in terms of profanity, violence, and sexuality on screen, and often these series are usually limited run i.e. designed to tell an anthology story, or shorter, as opposed to a franchise designed to last for decades. In other words, there are more creative liberties for you as a creator, and currently, there’s more opportunity in this space as well.

Overall, if you want to write this type of a show, it is usually because the content you chose is not so fenced in. Procedurals and such tend to land on network television, along with TV shows about hospitals and police work and legal fields. Whereas you can go all out with zombies and sci-fi and pretty much any genre, as the boundaries are endless outside of network guidelines.

How To Write For TV Step #2: Pick A Couple Of Shows You Love

How to write for TV

Firstly, what TV shows do you absolutely LOVE. And secondly, what genre are they?

This may seem like a simple statement to make, but it’s important that you focus on the genre and type of show that’s going to keep you excited, rather than writing something just because it’s “current”.

Your enthusiasm for the tone and genre of script you’re writing will come across on the page — in the story world, plot, characters, dialogue, and so on. So start by making a list of your favorite shows and then decide what one you want to write as a spec episode or emulate in a spec pilot.

However, rather than write a list that contains both drama and comedy, pick one over the other. As a newbie television writer, you’re much better off positioning yourself within a certain genre, instead of attempting to be a jack-of-all-trades who can “write anything”.

Deciding on a genre is about as elemental as it gets, but it will give your script its first embryonic shape. Do you want to write drama? If so, then your TV scripts should typically fall somewhere between 55 and 65 pages. If you want to write comedy TV show scripts, then they should be landing around the 25 page mark, but these are by no means hard and fast rules.

Once you know where your natural TV writing habitat lies — network or cable — what your favorite shows are within that space, and whether you want to kick off with a spec episode or spec pilot, you’re ready to start some serious research.

A quick note on writing TV spec episodes: pick a show that’s popular and currently on air. So, Unbreakable Kimmy Schmidt over, say, Frasier, even though the latter may be your favorite TV show of all time. This is because once a show’s over, it becomes void pretty quickly as far as using it as a writing sample goes.

How To Write For TV Step #3: Research Your Chosen Show(s) To Death

How to write for TV

Attempting to learn how to write a TV script without actually studying your chosen show, is a bit like trying to learn to play rock guitar without learning any Hendrix licks. Make it your mission to know whatever show you want to write or emulate, inside out. Do this by doing the following:

READ TV SCRIPTS

Go to a screenplay download site, such as SimplyScripts or Script City and download as many episodes of your favorite show as you can and get reading.

You want to go for the actual teleplays, though, and not one of those ubiquitous “transcripts”. These just contain someone’s transcript of the dialogue and nothing else. Reading the actual TV scripts of the series you want to write or emulate is probably the best way to learn how to write for TV.

WRITE OUTLINES OF TV SHOWS

We’re big believers in writing outlines of movies as you watch them and then breaking them down in order to master structure, and the same goes for writing a TV series. Simply, sit down with your laptop and type out what happens on screen in one or two sentences. Then break down the resulting document into sequences and acts.

This is an invaluable writing exercise on learning how to write for TV and you can sign up to our newsletter to get a copy of our free structure hack.

TRANSCRIBE TV SHOWS

I know a moment ago we told you not to bother with reading transcripts, but actually writing them yourself is another matter altogether as you’ll learn so much about how to write for TV. Whereas writing outlines is great for learning about structure, writing transcripts is great for dialogue and will really help you find the voice of your characters.

READ BOOKS ON HOW TO BECOME A TV WRITER

There are some great books out there on how to write for TV such as

Writing the TV Drama: How to Succeed as a Professional Writer in TV by Pamela Douglas and Writing The Pilot, by William Rabkin that every aspiring TV writer should read.

From doing all of the above, you’ll not only learn the exciting stuff on how to write for TV, but also the less exciting stuff — the technicalities…

How To Write For TV Step #4: Master TV Script Formatting

how to write for tv

Now, we know you can’t wait to get stuck in and start creating that unique world or kick-ass episode of an existing show, but it’s important to also be able to present your TV script professionally. And that means making sure you get the formatting spot on.

If you’re used to writing feature screenplays, then switching to TV scripts shouldn’t be too much problem as the fundamentals are pretty much the same. Especially when it comes to writing a single-camera show for cable or streaming.

TV SCRIPT SOFTWARE

However, the first thing you want to do is purchase a professional screenwriting program, such as Final Draft or Movie Magic if you don’t already own one, which will make sure everything’s up to industry standard.

Final Draft handily has the TV script formats for many of the most popular shows preloaded in its template database. There are some free screenwriting software options out there  but if you want to take breaking into TV script writing seriously, we’d recommend spending a bit on some pro gear.

Professional script writing software will take most of the formatting heavy lifting out of your hands, leaving you to concentrate on what counts — the story and characters. The biggest thing you’ll have to watch out for when writing a TV script, is its structure, as this will affect the formatting.

TV FORMAT & STRUCTURE

Broadly speaking, your TV script’s structure will fall into one of the three categories below:

  • 1 hour drama. This is a 60 minute show that may or may not contain commercial breaks. They can roughly be broken down into procedurals such as The Mentalist, i.e. self-contained stories every week, and serialized shows such as Homeland, in which the plot line develops from episode to episode.
  • 30 minute single-camera comedy. Single-cams feel more like a feature film as they’re shot in the same way, sometimes utilizing a hand-held camera style. Examples include The Goldbergs and Curb Your Enthusiasm.
  • 30 minute multi-camera comedy. Multi-camera comedies represent the traditional way of filming sitcoms: in a studio, sometimes in front of a live audience, sometimes with a laughter track. Frasier and Last Man Standing are both examples of this format.

As we’ve mentioned, there’s not that great deal of a difference between writing features and TV writing. The main difference between the two — and also between writing a 1 hour drama and 30 minute comedy — is how the stories are structured.

So let’s now take a brief look at the different structures of each of these three TV script formats. (Note: The following examples are all for networks as they include teasers, act breaks and tags. Writing for cable generally means you leave this out and format the script in the exact same way you would a feature.)

How to write for TV

1 HOUR DRAMA

Here are the main elements of a 1 hour TV drama — all of which, unlike in features, are written directly onto the page by the writer:

  • Teaser
  • Act 1
  • Act 2
  • Act 3
  • Act 4
  • Act 5 (sometimes)

Some contain commercial breaks while others don’t. If they do, then the next time you watch your favorite drama, note where they land as these will give you your act breaks.

Here’s an example of 1 hour TV script formatting from the Breaking Bad  pilot:

How to write for TV

Generally speaking, the Teaser takes up the first two to five pages, introduces the audience to the characters and story world, and (hopefully) hooks them into wanting to see more. Then the subsequent acts each gain in conflict, much like in a feature, and end on a big cliffhanger to hook the audience into watching the next act or episode.

If you’re writing for a network, each one prefers their acts at different lengths and to be broken down in different ways, so you will want to tailor your script according to their preferences. This is where you as a writer need to do your research.

Here are some 1 hour TV scripts:

30 MINUTE SINGLE-CAMERA COMEDY

The way a 30 minute single-camera show is formatted is pretty much the same as a feature, or a 1 hour TV drama. While some single-camera shows confusingly actually sometimes use more than one camera, the key element to bear in mind is that they have more of a cinematic feel to them.

Here are the main elements of a 30 minute single-camera show — again, with headings written directly onto the page:

  • Cold Open (same thing as a Teaser)
  • Act 1
  • Act 2
  • Act 3
  • Tag

And here’s an example of a single-camera TV script from Parks and Recreation:

How to write for TV

The obvious difference here is that all of the conflict is condensed into just three acts (sometimes only two). They also contain a Tag at the end of the script which acts as a “button” to the whole show — that final joke for the audience to take away with them.

Here’s a few single-camera TV scripts for you to read:

30 MINUTE MULTI-CAMERA COMEDY

Multi-camera TV scripts are kind of an entity all to themselves when it comes to formatting. Unlike, features, 1 hour drama scripts and single-camera sitcoms, multi-camera TV show scripts tend to have a more technical “production” formatting style, which can bloat an otherwise regular 22 page script into 52 or more.

This is because they’re shot fast, usually in front of a live studio audience, and so their formatting needs to be that much more specific.

Here’s an example of the formatting in a multi-camera sitcom script, Frasier:

How to write for TVThe first thing you’ll notice is that all action lines are written in ALL CAPS. There are also many more stage directions and much more underlining going on than in other script formats. Oh, and all the dialogue is double-spaced which, along with the description being in ALL CAPS, helps beef up the page count.

Here are some multi-camera TV scripts to read:

Now, some people advise against aspiring TV writers employing the multi-camera format in their spec episodes and just write them in the more familiar single-camera style. This is because it’s deemed too complicated and specialized to pull off correctly.

However, we think that if you do your research correctly there’s no reason why you shouldn’t take the opportunity to show whoever reads your script that you’ve really taken the time to master the craft.

In closing: remember that aside from the structure, different networks, cable and streaming services also have their own formatting requirements. One may want scene headings underlined, while another may prefer they’re not. The best advice we can give is find produced scripts in your chosen field and then study them until their format and structure become second nature.

How To Write For TV Step #5: Write A Jaw-Droppingly Good Script

How to write for TV

Now that you’ve decided where you’d like to work, in what genre, and mastered the basics of formatting, you can start to get into the fun stuff: writing a killer TV script that will open doors for you.

This is, of course, easier said than done, but this is where your talent and perseverance as a writer needs to come to the fore. We don’t have the space in this post to get into the minutiae of how to write a TV show script (there are plenty of great books on writing for TV out there) so we’re going to focus here on the most important element you should take away with you.

This is most relevant question you can ask yourself if you’re writing an original 1 hour spec pilot is:

What’s my personal connection to this material?

In other words, why are you the ONLY person who could tell this story? The more specific and honest an answer you can give to this question, the more value you’ll bring to the material.

The first step of breaking into the TV writing business using a spec pilot is writing one that communicates you, your worldview, and your unique story. Not only should this pilot sample be a reflection of your interests and vision, it should be loud and attention getting. This is your calling card, so make it something special and you will be presenting yourself as a strong addition to any writing staff.

A way to really stand out amongst the crowd of TV writing aspirants, consider building out a “show bible” — a document that touches on the broad goals of your series. Address character, set up, what each individual episode feels like, and how you view the series growing beyond a single season.

Really dig into what your primary story arcs are, and how they’ll integrate into the B and C stories. Basically, what are the beats that define your series? What are the most significant elements that make your series unique?

Is your series a procedural, where every episode of each season follows the same pattern? Or is it an anthology series like American Horror Story, which reboots its story each season, in spite of having a thematic through-line? In other words: you’ve written a great pilot, but you’re also considering the future of your concept.

Admittedly, this is a challenging prospect, but one that will serve you well in the long term. Not only will you have a greater understanding of what your series is (and how to pitch it), you’ll also be in a stronger position to sell your work if you ever find yourself in the position of doing so down the line.

John August has some examples of different show bibles on his website that are worth checking out. Take your time, build your world, and execute your vision with confidence and precision.

How To Write For TV Step #6: Research How To Break Into The Industry

How to write for TV

Once you’ve completed the hard work of actually writing your brilliant new TV script, you’re undoubtedly eager to share your work with the most powerful hands in Hollywood. And this is where the real work begins…

GAINING REPRESENTATION

Just like writing for features, your best bet is to find a manager or producer who accepts submissions or queries, and do whatever you need to do to get your work in front of them. Check out this post How To Get A Screenwriting Agent for a more in-depth guide.

The general thing you want to do, though, is to fully research the lay of the land and where your TV spec may find a home. Work out who are the people you want to get your work in front of — people who fit your brand, genre, sensibilities, and target demographic. For example, there’s no point submitting your dark n’ edgy crime thriller to Nickelodeon.

In short, even if you have a terrific manager already, or land one in your pursuit of staffing success, the truth is you truly do need a television agent to break into the industry. Television agents have a special relationship with staffing executives and producers, and without making it past this threshold, you have very little chance of even booking a general meeting with television executives.

There are, however, a few other viable routes which you can use which circumvent the traditional need for representation in order to staff: TV writing contests, fellowships, and labs.

How to write for TV

TV SCRIPT WRITING CONTESTS

There are a number of television writing competitions that promise to boost your career in impossible ways, but I can assure you: there’s no “get successful quick” scheme that actually works. Instead, do some due diligence and seek out the reputable contests that’ll guarantee to help advance your career.

Here’s a post on the best screenwriting contests out there, most of which have dedicated TV writing categories.

TV WRITING FELLOWSHIPS & LABS 

Several networks run television writing fellowships and labs for talented, aspiring writers, and are a fantastic way of breaking into the industry if you’re lucky enough to get picked. They often offer the opportunity to get paired up and mentored by seasoned TV writers, but you’ll have to submit a TV spec episode and the competition is tough.

These are all trustworthy incubators for television talent that rely on just your writing, as opposed to the staffing process that involves several rounds of meetings (and having to impress a whole network’s worth of people!).

How to write for TV“My experience put to work a bit of all of the above. I trained as a writer in a graduate program that opened a lot of professional doors for me. Through the connections I made there (and unfortunately, undeniably, connections are an enormous part of this process), I was able to get my work in front of a manager who saw my vision and supported my goals as a writer.

“After working on features with my manager, I sold a script for a high-concept feature that opened lots of doors for me, including pairing me with a features agent. Months later, I was invited to participate in the Sundance Episodic Storytelling Lab for a television project that eventually found me a terrific television agent who also supports my vision and abilities”.
John McClain (Script Reader Pro screenplay analyst)

WORK YOUR WAY UP THE LADDER

Finally, another tried and trusted way to break into writing for television is to get a job as a writing assistant, or at least in the mail room at a production company or agency. Age plays a factor here, though, as most of these positions are taken by graduates and people in their twenties. In fact, when learning how to write for TV, it’s also important to consider other factors within and outside of your control…

AGE

As well, it is important to note that age is definitely something that dictates your options in TV land. The younger you are, the more attractive you are to a showrunner because your voice and style are expected to be young and current. It is how it is, so keep that in mind if you are going to turn your life upside down to try and get staffed on a show.

LOCATION

If you’re writing features you can be practically anywhere in the world when it comes to breaking in. Of course, we recommend being in Los Angeles which we’ve already written about in our post 4 Bad Reasons Screenwriters Give For Not Moving To LA (And Why You Should Ignore Them)

When it comes to writing for television, however, you really do need to live where they make TV. This is because you’ll not be able to get staffed on a show if you can’t walk in the next day and start work. In this respect, it’s much more like a regular day job, and you wouldn’t expect to get a job on Wall Street while living in Tacoma.

How To Become A Writer For TV: Conclusion

How to write for TV

In the end, we recommend attempting to break into Hollywood armed with a portfolio that contains both feature screenplays and TV scripts. The two play off each other and so you may get an assignment in one format which leads to greater things in the other. Keep your options open and be flexible, because having success in either medium will naturally help the other.

Like with writing features, writing for television all comes down to story and character. So remember to ALWAYS be original and fresh, even if you are writing a spec of a pre-existing show. Put your passion and talent down on that page and see where it takes you. We hope this guide has helped dispel some of the confusion surrounding how to write for TV and wish you the best of luck on your journey!

Best Screenplays To Read

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Got a 1 hour or 30 minute spec TV script you want us to review? Check out our script coverage services here:

We’d love to work with you, so feel free to learn more about us and reach out with any questions you may have on our services or how to write for TV. Or you can check out our full range of script coverage services by clicking on the image below.

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72 Comments
  1. Karen says:

    Terrific post! Very thorough and helpful to me as a TV writer who just moved to LA from NYC.

    1. Script Reader Pro says:

      Thanks Karen – glad it helped 🙂

    2. Script Reader Pro says:

      Thanks Karen, good luck with your TV career.

  2. Nick F. Cise says:

    This article was great. Incredibly informative, and straight to the point. I took a lot away. Thank you!

    1. Script Reader Pro says:

      Thanks Nick, glad you found it helpful.

  3. Evoke says:

    Thanks for sharing it………….:) 🙂

    1. Script Reader Pro says:

      You’re welcome!

  4. Edward Criva says:

    How long does it take to start a career in screenwriting?

  5. Bootsy says:

    Start with a great script. Polish it get it ready and then come back read this post.

  6. Veronica says:

    I’m feeling so pumped right now. Can’t wait to get to work on my script. Thanks guys 🙂

  7. Francine says:

    Where to download game of thrones season 7?

  8. Josie W says:

    I’ve bookmarked this and will be back to finish reading.

  9. Angela McKenzie says:

    My pilot needed this!!

  10. Becky says:

    This post is worth it’s weight in gold. Good work Script reader pro.

  11. Tyrone says:

    Do you guys have a TV specialist who can read my pilot?

  12. Annette says:

    I’m writing a mini series designed for a prime cable channel. This post is so helpful, thank you.

  13. Leo D says:

    I’ve told my writing group about you guys. Hopefully more work comes your way. Peace.

  14. Ella says:

    Thanks for taking the time to put this together. Really appreciate it SRP! <3

  15. Eduard says:

    Fantastic post!

  16. Brandon 89 says:

    How to write for TV: write for the internet THEN write for TV

  17. Sunshine Girl says:

    Writing for TV is just as hard as writing features (as I’m finding out)

  18. Mary Ann says:

    Great step by step breakdown, thanks so much guys.

  19. Liam S says:

    How do I break into TV in LA when I live in Ireland?

  20. Marcus says:

    Awesome work Script Reader Pro! Bookmarked!

  21. Terry says:

    Started new 1 hr drama – this post is so inspiring. Keep at it .

  22. Draxler says:

    Writing for TV is the way forward now in today’s industry climate.

  23. Aurelia says:

    I have noticed you don’t mention writing for web series much. Is this a good thing to pursue?

  24. Robert B says:

    Best screenwriting info online right here!

  25. Viktor says:

    So how do I get an agent? This is all about managers.

  26. Eduard M says:

    This is AWESOME!

  27. Janice says:

    How much do you charge for a 1 hour drama coverage?

  28. Dani says:

    Can I break into TV from out of state? Illinois. What’s the best way please.

  29. Brett says:

    This TV writing business is TOUGH. Thinking of trying features..

  30. Murtuza Ansari says:

    It’s helpful. …. excellent guideline for the aspiring Writers.
    Thanks
    Murtuza Ansari

  31. Thomas H says:

    Not started my script yet but this page is bookmarked. Thanks a lot guys.

  32. Linda says:

    This is such an incredible article… I don’t know what to say… Tank you!

  33. Rebekah says:

    Will this work for my novel?

  34. dakacoms says:

    TV is my passion! I can’t wait to get my foot in the door and get my TV show scripts produced. I’ll definitely try some of the strategies you shared and hope they will bring me one step closer to my dream.

  35. Eduardo says:

    My pilot has major character problem am thinking of submitting to you guys for analyse soon. Great article!

  36. Wihelm says:

    How do I start a career writing for TV in Hollywood when I live in Germany? 🙁

  37. Chaz says:

    TV sucks . I am sticking to writing movies.

  38. Sig says:

    Still confused about the difference between cable and network script formats.

  39. Fredericka says:

    Bookmarked! Will be sending you guys my sci-fi pilot soon. Thx 🙂

  40. Yusef says:

    If I want to write for TV in Hollywood do I have to move there?

  41. Nora says:

    Okay, so now I’m pumped to get my script out there. Great post guys.

  42. Eduardo says:

    I have a spec TV script that is ready to sell.

  43. Thomas says:

    I feel so much more positive about bagging a manager now – thanks guys 🙂

  44. Reggie says:

    I have a manager but want to fire her but don’t know how lol.

  45. Rich says:

    Smartest step by step plan I’ve ever seen!!

  46. Darius says:

    Wow. This website is head and shoulders above anyone else when it comes to screenwriting. Thx.

  47. Paul says:

    Epic! Thanks for taking the time to put this together. I’m jumping on my laptop right now to start writing!

  48. Martina says:

    I’m writing a spec of an existing show. Is this okay or should I make up my own one?

  49. Martin says:

    Is breaking into TV easier than into features?

  50. Daz says:

    Yes – thank u script reader this is just what I’ve been looking for!!

  51. Jordan says:

    Just started writing TV scripts after years getting nowhere with features. Fingers crossed eh? Thanks for the info Script Writer Pro.

  52. Veronica says:

    Should I write a spec of an existing show or make up my own won if I want to break in?

  53. Anna says:

    Where do I find tv scripts to download?

  54. Jackson says:

    Terrific 🙂

  55. Clem says:

    I’m going to follow every step.

  56. Rene says:

    This site really knows it’s stuff. Well done!

  57. Emily says:

    I can’t wait to get started after reading this. Thanks guys!!!

  58. Red says:

    My script has a character that commits suicide at the end of the pilot. Is this too much for the first episode?

  59. Denita says:

    Fantastic! Thanks guys.

  60. Matt Simon says:

    Thanks for the inspiration! Fully pumped now to finish my pilot.

  61. Tom Newton says:

    This is a timely piece.TV is so much better than film now.

  62. Karen says:

    This is an amazing help to me. I want to write for TV but didn’t really know what to do with my script.

  63. Shelley says:

    This is the best blog post I’ve seen in a long time! You guys are awesome!! Can’t wait to get my TV script started

  64. John Coyne says:

    Running late with my submission to TV contest, may need a rush service from you guys.

  65. Fabio Essien says:

    Should I write a pilot for TV if I really want to be hired to write a feature?

  66. Grover Deacon says:

    I found this really long but so inspiring. Thanks,

  67. Joni says:

    I have checked back on this website a few times now over the past few months – your content just gets better and better. Really helping me learn how to write and for that I really thank you Script Reader Pro.

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