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How to Pitch a TV Show to Netflix & Networks

The Ultimate Guide to Pitching Your TV Show Idea to a Network, Cable or Streaming Platforms


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by Script Reader Pro in How to Sell a Screenplay, TV Show Writing
June 5, 2018 43 comments
tv scripts

Learn How to Pitch Your TV Show Idea to a Network & Netflix

Learning how to pitch a TV show is just an important skill to learn as writing the script itself. If you’re hoping to break into the world of television as a writer, you can write the best pilot in history, but if you don’t know how to pitch it, it’s unlikely your show will get produced.

Apart from great writing, you need to be able to convince the financial gatekeepers (read: executives) at any cable, network or reality channel that your idea has the originality, longevity and “wow-factor” to turn it into a successful series. And to turn over a tidy profit.

To do so, you will need to learn how to pitch a TV show, but what does “pitch” mean exactly?

  • What kind of pitch should you put together in order to sell them on your big idea?
  • What should you include in such a document?
  • How should it be tailored to suit the particular entity you’re pitching to?

Below, we’ll aim to answer these queries by running through the means and methods behind pitching a variety of documents to a variety of TV formats and mediums.

In this post you will learn:

  • The #1 thing that makes a successful pitch to a TV show
  • How to create a pitch document
  • How to pitch a TV show to Netflix and other streaming and cable platforms
  • How to pitch a TV show to a network
  • How to pitch a reality TV show
  • Why writing credits are so important when pitching TV shows

We’ll also include a TV show pitch example in each section so you also get an idea of what you should be creating as part of the pitch process. So let’s dive on in…

How to pitch a TV show: the #1 thing you should have

how to pitch a tv show to Netflix or network
Of course, just like with a feature screenplay, it all begins and ends with the concept.

A TV script lives and dies by its concept: the core idea behind the show that will make people want to watch the pilot and keep watching the series.

The cable and streaming world in particular have never been bolder creatively than they are today, so you must really put in the effort to make sure your show’s concept stands out from the pack.

The logline, otherwise known as “elevator pitch”

The way to do this is to come up with a logline: a short one or two sentence summary of your TV show’s core idea. It should be short and snappy enough to engage an exec during a chance encounter in an elevator, hence the term “elevator pitch.”

For example, let’s say your logline for a new TV show is:

“When a mother’s young son disappears she must fight to get him back.”

This is fine as an initial idea for a TV script, but it’s missing that “wow factor.” A boy just going missing by itself is not interesting or original enough a concept to sustain a full TV series. But how about this?:

“When a young boy disappears from a quiet 1980s suburban town, his mother, friends, and the police chief must confront terrifying alien forces in order to get him back.”

In other words, once the initial concept is expanded upon to create a unique world and situation we’ve never seen before, you have Stranger Things.

However, as opposed to feature script loglines, in TV it’s sometimes necessary to prefix a TV logline with a few more specific elements noting the channel, time slot and length.

In other words, is your show for cable, streaming or a network? Will it be shown in the morning or at prime-time? Is it a half-hour show, or one hour?

Our Stranger Things logline, therefore, could become this:

“The show is a prime-time, hour-long, sci-fi comedy thriller about a young boy who disappears from a quiet 1980s suburban town, and his mother, friends and the police chief, must confront terrifying alien forces in order to get him back.”

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Tightening the concept

Once you think your logline is strong enough, put it out of mind for a couple of weeks. Then, go back to it, asking yourself questions such as:

  • Is this concept truly original?
  • Will this idea stand out from the pack?
  • What makes this show’s world unique?
  • What am I showing viewers they’ve never seen before?

If, after this, you’re not sure if the concept is really a knockout, it probably isn’t. In which case it’s time to go back and brainstorm ways to make it better.

On the other hand, if you still think your show’s idea is truly exceptional, tell other people about it and see how they respond. It’s hard to feign enthusiasm, so this will tell you a lot.

(You can email people your idea, but telling them face-to-face is probably the best method as you’ll get a real-time gut reaction.)

Does the person seem non-plussed? Or are they genuinely excited by what you’ve just told them? If they don’t respond with something along the lines of “I wish I’d thought of that,” or “That’s freaking AWESOME,” then your idea might still need tweaking.

This process of getting feedback on your concept from other people or a script consultancy is essential, rather than just deciding it’s good enough by yourself and then diving right into the pitching process.

Writing the script

Once you’re 100% certain your idea is rock solid—guaranteed to blow away any exec who hears it—it’s time for the hard part: writing a script that lives up to the concept.

Generally, any pitch package will entail completing a finished pilot script to go with the logline, so as to give the executive a sense of your writing style and the general direction the story is headed in.

So, as you write, make sure every aspect relates back to the core concept. Stay true to that initial idea that got you excited to write it in the first place and this enthusiasm will come across in your writing.

We have a post on how to write for TV that you may find helpful when it comes to the actual writing of your script.

Again, once the script’s done, put it out of sight and mind for at least two weeks. Then, ask anyone you know (preferably someone who works in the industry) or a script consultant to give you honest feedback on your pilot.

Only once you’re concept and script are lock tight, is it time to learn how to create a pitch document for a TV show…

How to pitch a TV show: create a pitch document 

how to pitch a tv show to Netflix or network
Given the greater need for detail and specificity inherent in television formats than features, a TV pitch also typically requires a pitch document along with the script and logline.

This is a concisely worded tract which breaks down the concept, marketability, and long-term vision of the prospective show at hand. Oftentimes, particularly in the realm of cable and streaming TV, it’s preferable to create what’s called a “series bible” or just “bible.”

The series bible

This should go into greater detail about the potential program’s aesthetic choices, dramatic arcs, and pop-culture reference points.

Though there is no one set length, we recommend not preparing a pitch document any shorter than six to seven pagesThis is due to the sheer amount of topics you should address in it, which generally should include:

  • Title. Create an interesting title that touches on the main theme of the story, or the dramatic tension faced by your character.
  • Logline. A punchy yet impactful summation of the story concept. No more than two sentences, ideally one. A logline for a narrative series will usually delve into the particular circumstances and conflict that drives the plot forward.
  • Synopsis. A broad overview of the series, making clear the world it’s set in and the dynamics between the characters. This is of particular importance from a commercial perspective to a network, because you’re highlighting the most compelling thematic facets of the series. This could be accomplished in a few paragraphs, or a number of pages so long as the writing itself is polished and reads at a nice clip.
  • Characters. Describe your protagonist and other key players in the show. Speak to their backgrounds as well as their current lifestyle in a paragraph or so. Explain the way in which they view the world; how they see themselves and how they relate to other people. Find their flaws, their quirks, and the unique peccadillos that make them tick.
  • Pilot outline. A step-by-step breakdown of the pilot episode, running through the machinations of the plot.
  • Future episodes. A list of eight to thirteen descriptions of potential future episodes—something akin to a logline for each one.

All of these elements put together should broadly address the following:

  • How are your primary characters and your characters’ world unique?
  • What makes the audience care about these characters?
  • What are their complexities and their flaws?
  • What drives them to make the choices they do?
  • Why do you as a writer feel the need to tell this particular story?
  • What do you want the audience to take away from it?
  • What is the overall tone of the show?
  • If possible, compare it to a combination of other, existing programs or movies.
  • Track the character arcs over the course of the entire season, to show how the characters evolve throughout it.
  • A broad, “big picture” look at the story of the first season, which outlines its major beats and movements.
  • What makes this show stand out from the pack? Why should they green-light your vision over any number of similar, competing ones?

(You’ll find a TV show pitch example for cable, network or reality show in each section coming up.)

The complete pitch package

Your pitch document or “series bible” should complete a pitch package that looks something like this:

  • Logline/“elevator pitch”
  • Pitch document/“series bible”
  • TV pilot script

Once you have all these, have received positive professional feedback on your script on each from at least one industry professional, it’s time to learn how to pitch a TV show to a cable or streaming channel.

How to pitch a TV show to Netflix and other streaming and cable platforms

how to pitch a tv show to Netflix or network
At this point, streaming and cable services have become a de facto part of everyday life with millions of people subscribing to companies like Netflix, Amazon and HBO. But if you’re hoping to get all those eyeballs on your show, you’ll first need to learn how to pitch a TV show the right way.

The bad news is most cable/streaming services have a no-unsolicited submissions policy, meaning if you don’t yet have an agent or manager you most likely won’t be able to send them your script.

However, all is not lost! Later in the post, we go into some strategies and tactics you can use to get your foot in the door without an agent or manager

Amazon Studios did offer an unsolicited submissions program but that ended on June 30, 2018.

Gain representation

With this in mind, the first step towards being able to pitch a TV show to almost any cable or streaming platform is to gain representation. This is, of course, no easy task in and of itself, but you can read more here on how to get a screenwriting agent.

Also, it’s very difficult to pitch a TV series to a streaming, cable or network company unless you already have a track record of working in television or film, with successful writing and/or producing credits to your name.

More on this later, but once these boxes are checked, and assuming you have a kick-ass logline and script, below you’ll find a TV show pitch example that sums up the materials necessary for a successful Netflix pitch document.

TV show pitch example: Stranger Things

Here’s the first page of the TV pitch document for their smash hit Stranger Things (then called “Montauk”).

how to pitch a tv show to Netflix or network

You can read and download the entire Stranger Things series bible here.

As you can see, this particular TV show pitch example runs an impressive twenty-three pages, though it is peppered with numerous stylized images.

Given that Netflix is something of a “disrupter” in the entertainment industry, they’re looking for more dynamic, out-of-the-box choices than other platforms might. They also put less of a premium on seeing multiple season arcs than some of their more traditionally-minded competitors.

Once you have your logline, series bible and script you’re then ready to submit to a streaming/cable company via your agent or manager. Or pass your materials along to someone you know who works at Netflix, HBO, Amazon and so on.

If these aren’t options, we’ll show you some real-world strategies on how to pitch a TV show to Netflix etc. at the end of the post.

How to pitch a TV show to a network

how to pitch a tv show to Netflix or network

Unlike cable and streaming services, network TV is a somewhat more rigid and traditional arena in which to pitch your TV series.

Network pilot season

For one thing, the networks actually operate on a particular schedule—mostly centered around the so-called “pilot season” which begins with scripts being ordered in January and ends with casting and production crews being assembled by mid-Spring.

In June or July (of the year prior to said season), you would pitch your work to a studio, which can be thought of as a sort of bank. If they like your idea, they will then advance you, as a show creator, the resources and finances to produce a pilot.

This pilot is then shopped around to the networks, looking for a “pick-up” to series. Networks are essentially renting out these shows for one premiere airing and a few repeats, so if the show costs more to produce than what the network will pay up front (which is usually the case), then the studio must finance the deficit.

How to pitch a TV show: cable vs. network

With all these risks in mind, studios that create network TV are looking for much more of a safe bet—a desire that should be reflected in your pitch document.

Typically, these documents would be more succinct and to-the-point than their artier cousins in the streaming/cable world. It would ideally hit on the basics and eschew more stylized effects.

Again, these materials present should include the title, a logline, synopsis, character breakdown, pilot outline and summaries of future episodes.

This last step is of particular importance in the network TV realm. Since, unlike, say, Netflix, they’re only greenlighting a pilot, rather than entire season’s worth of content, you need to prove to them that you have enough gas in the tank story-wise, to allow for future episodes, and, eventually, future seasons.

In addition to writing a pilot script, you might even want to consider writing a second or third episode to give an even better idea of where things are headed. Netflix is (essentially) a bottomless pit of money and resources, whereas a studio is making a fairly speculative investment by taking on your pitch.

TV show pitch example: New Girl

For a prime tv pitch document example, below you’ll find the official pitch for Fox’s hit show New Girl:

how to pitch a tv show to Netflix or network

You can access the entire New Girl series bible here.

As you can see, this document is full of pizzaz and humor, but it lacks the intensely visual component and the level of detail found in the one for Stranger Things.

Despite their differences, however, both these shows exist in a narrative space, with story and character up front and most important.

How to pitch a reality TV show

how to pitch a tv show to Netflix or network

Unlike other types of shows, reality is obviously set apart due to its lack of a pre-determined script or story. That being said, just as much preparation—if not more—must go into such a show’s development.

As such, your pitch document will need to be brimming with information to communicate the particular brand of reality show you’re aiming to create.

Arc vs. self-contained

First, you have to decide whether you are proposing an “Arc-Style” concept or a “Self Contained” concept.

Arc-Style would refer to a long-term competition format, wherein the same set contestants are pitted against one another and one person is voted off each week. Examples include Survivor, The Bachelor and Top Chef.

On the other hand, the Self-Contained format would involve new contestants/challenges each week, with a structure that is limited to its run-time, rather than a full season. Examples include Fear Factor, Undercover Boss, and Chopped.

Standing out

Once you’ve settled on a format, the next step is to begin putting together your pitch. Just like narrative television, a premium is placed on originality and a fresh voice, so it’s always wise to try tackling a subject that has never been exposed before.

Choose a particularly odd profession, a wild and wacky family, a niche lifestyle, or anything that is, in some way, alien to the general public.

Just as in the narrative world, pitching reality begins with a title, logline, and synopsis. The title should hit on what we’re seeing in a more straightforward manner, as opposed to the sometimes ambiguous nature of dramatic TV.

Similarly, the logline needs to be more direct in terms of hitting upon the nature of the premise and the “rules” that the cast must abide by.

Next comes the synopsis, which would typically range from one to four pages long, depending on the idea. For a docu-style series, remember that you are pitching a specific world and the individuals inhabiting it in the place of a traditional story.

This is content based on real lives, after all. Keep in mind that you have no way of predicting exactly how things will turn out, so rather than approximating specific situations, it’s better to lay bare the ways in which you would try to drum up drama (particular challenges, gimmicks, and so forth.)

Reality vs. narrative schedules

Unlike the fixed schedule inherent to network narratives, most reality TV producers do not operate under any limited period. Instead, they scout all year round, since it costs relatively little to develop unscripted programming.

Be that as it may, one way to put your reality show pitch over the top would be to shoot a “sizzle reel,” which essentially amounts to a proof-of-concept video meant to show how your program would play visually.

Of course, you’d most likely be dropping your own money down to finance such a reel, but it could be worth it as an additional motivating factor to get a production company to agree to underwrite your vision.

For some insight on how to pitch a reality show, see this article pertaining to the documents for a potential season of Survivor. 

How to pitch a TV show: gain writing credits

how to pitch a tv show to Netflix or network

As previously mentioned, it’s incredibly difficult to successfully pitch a TV show to streaming, cable or network channel without representation and some kind of professional writing credits.

With that in mind, check out our ultimate guide on how to get a screenwriting agent. But, as promised, here are a few strategies you should use to get your script in front of the right people, gain some credits and get an agent or manager:

  • Place highly in a screenwriting contest. Not all contests have TV script categories but do some research and submit and if you win or place in at least the top five, doors may start to open. Here’s a list of the best screenwriting contests out there.
  • Upload your TV show to an online submission site. Sites like the Black List are used by many aspiring TV writers to get their work noticed by industry professionals. Most require a fee of some kind to place your script on them, so proceed with caution. Here are some of the best places to sell a script online.
  • Find success in a different medium first. If your idea for a TV show first gets published as a novel or receives millions of hits online as a web series, you’ll be able to show TV executives not only that you can write, but that you have a ready-made built-in audience. Developing an existing IP (intellectual property) with characters and storylines ready to go will go a long way to convincing them you have what it takes to make them money.
  • Get a job at a streaming, cable, network or reality platform. If you’re unable to walk right into an executive’s office and hand them your script, why not get a position at the kind of company you’d like to write for? Working in the mailroom, as an intern or assistant, or on set, will provide you with a network of people who can help your career.

How to pitch a TV show: conclusion

It’s a long road learning how to pitch a TV show to a network, cable or streaming company, but if you’re willing to put in the work outlined in this post, you’ll get there.

Your step-by-step process should go something like this:

  • Come up with an awesome, never-seen-before concept for a TV show
  • Learn how to write for TV and write a spectacular pilot
  • Get some professional writing credits and gain representation
  • Put together a pitch document
  • Research which companies are the best fit for your show
  • Pitch your TV show

Follow these steps, but not necessarily in this order, repeat, and you should hopefully find success pitching your TV show.

Enter contests, submit your scripts to online submission sites and land yourself an agent and manager and they’ll be able to guide you through the tricky waters of how to pitch a TV show.

Pitch documents/series bibles are as varied and multifaceted as the content they aim to sell. Depending on the platform, market, or discipline you’re trying to work in, the nature of your pitch can veer into entirely different directions.

That said, one unifying principle remains: you must have a clear and concise idea of what it is you’re looking to do and why.

The more firm and specific your reasoning—and the better you can explain it on the page—the more likely it is that someone of importance in the industry will eventually say the magic word: yes.

Most importantly, keep writing and studying existing TV shows of the type you want to sell and keep improving your craft.


how to pitch a tv show to netflix

We hope you found this post on how to pitch a TV show helpful. If you’d like us to give you feedback on your TV show’s concept, pitch document or on the script itself, check out the following links:

Thanks for reading and we look forward to working with you!

More posts on how to become a TV writer…

How to pitch a TV show to netflixHOW TO WRITE FOR TV: A STEP-BY-STEP GUIDE TO STARTING YOUR CAREER: And Why Feature Writers Should Write A TV Spec Too


How to pitch a TV show50 OF THE BEST TV SCRIPTS TO DOWNLOAD IN EVERY GENRE: Learn How To Write TV Specs By Studying The Best TV Show Scripts




  1. Bradford Richardson says:

    Spectacular. An expert and inspiring HOW TO. Thank you.

    1. Script Reader Pro says:

      Thanks, Bradford. Glad you found it helpful!

  2. Rosanne says:

    This is truly inspiring. I have a great idea for a reality TV show and can’t wait to pitch it.

  3. Ola Ray says:

    Hi, Thanks Bradford for giving me the insight I needed to pursue my dream!

  4. Michael says:

    Thanks for this. Its honest about how hard it is to pitch without representation but inspiring at the same time. I will be applying for internships this summer and entering contests submitting to black list like you recommend. The hard work will pay off.

  5. SK Cooper says:

    Fantastic, thanks so much

    1. Script Reader Pro says:

      You’re welcome!

  6. Andrey G. says:

    Thanks so much for this post! I will pitch my TV script to Amazon tomorrow!

  7. Lauren Elliott says:

    This is the absolute best “how to” I’ve ever read. Your advice completely resonates in every way. I’m an Australian producer and writer friends often ask me about my series bible development process. Your guide is just so perfectly articulated. Thank you!

    1. Script Reader Pro says:

      Wow, thanks, Lauren! Glad you enjoyed it.

  8. Ted Crisell says:

    Bravo. Excellent.

    1. Script Reader Pro says:

      Thanks, Ted!

  9. Paul says:

    Have you any contact info for pitching to Netflix? I can’t find anything anywhere

    1. Script Reader Pro says:

      Netflix doesn’t generally accept unsolicited scripts so it’s a case of getting representation to do this for you.

  10. Potaua says:

    Excellent advice and a great way to start our journey. Thanks so much for sharing.

    1. Script Reader Pro says:

      Thanks, Potaua!

  11. Vic and Rick Gibson-Dream Themes says:

    Thanks a bunch!! We are currently doing a sizzle for a reality show and this is very helpful. We have a sizzle and pilot (we paid for it all) and looking forward to finding the right placement. Excellent advise

    1. Script Reader Pro says:

      Thanks a lot for the feedback – good luck with the script!

  12. Karla says:

    One would think that since Hollywood continues to re-hash old shows, they would be chomping at the bit for fresh new ideas. I know that I have a great and unique idea for a show, but getting someone’s attention is hard if not impossible!

    1. Script Reader Pro says:

      Keep at it, Karla!

  13. Gonzalo Calderon says:

    I wrote a series that would make breaking back look soft no offense, But this story line will put this series on the map. I just need someone to read it. I have had tons of comments and tons of people asking when will it make it to the t.v? That’s where I need help to get it there.

    1. Script Reader Pro says:

      Hi Gonzalo, if you’d like someone to read it before sending out into the industry and get feedback you can do so here.

  14. Annabelle says:

    Your site is extremely helpful to my screenwriting. Many thanks for sharing!

    1. Script Reader Pro says:

      You’re welcome, Annabelle!

  15. Yiti says:

    My stories are generally biblical

  16. DC Harrison says:

    Thanks for the great article. A question though…
    Considering that Netflix is looking for “more dynamic, out-of-the-box choices” should I have two bible formats? One patterned in the style of Stranger Things for Netflix and one more traditional style for other companies?

    1. Script Reader Pro says:

      Thanks DC! We always recommend having different versions of the same bible depending on who you’re sending it to.

  17. Lucia Adams says:

    Once in a lifetime opportunity for new material

    Lucia Adams ©

    Bror Blixen, Prince of Wales, Denys Finch Hatton

    “The Baron was not a man that you forgot.” Ernest Hemingway


    Bror Blixen had a farm in Africa at the foot of the Ngong Hills that he transformed from forest and grassland into bright green coffee fields. For seven years he tried to make it prosper but doomed by location, World War I, undercapitalization and his wife’s illness he finally gave up in 1921. To remain in Africa, the land of freedom and opportunity, he became a white hunter, a guide leading “lions in the morning champagne in the evening” safaris for the international social elite.
    During the golden age of safaris between the world wars he hunted down East Africa’s primary resource, its wildlife, its elephants, rhinos, lions, buffaloes, hippos, leopards, cheetahs , antelope, the rare okapi. Locating the dwindling game, he stalked it in the long grass, taking the risks while the Vanderbilts or the Prince of Wales were stationed at exactly the right spot to fire heart shots or brain shots. Having experienced the thrills of Blixen-orchestrated “safe danger” they left Africa with crates of tusks, horns, hides, films, photographs, memories for a lifetime.

    The Swedish baron organized every detail of their opulently outfitted camps, their long motorcades and post-hunting ngomas which he likened to being 75% a butler but was more like a military commander of an army of gun bearers, porters, drivers,skinners, cooks,white second hunters, camp managers, mechanics, pilots. Between safaris he was a market hunter of ivory wandering alone in unchartered lands of cannibals, pygmies, and tribal chiefs who called him Wahoga, the wild goose, one who is in one place and then another.
    A global celebrity with a dazzling personality who could, according to his friends Ernest Hemingway and Beryl Markham, outwalk, outshoot, outdrink and outcharm anyone he led a brave and daring life in colonial Africa. Today however he is remembered as Karen Blixen’s unfaithful husband in the film Out of Africa a romantic melodrama set in Kenya — causing Markham to wonder who in the world these unrecognizable people were. Bror would perhaps have remained a footnote in hunting history had his life in Africa not been bookended by famous writers who created his legend.

    The sources for this chronicle of Bror’s life from 1913-1938 are his two hunting memoirs and, while married to Karen Blixen, her letters from Africa, his own not surviving. Safari memoirs and diaries were sources as were biographies of the dramatis persona in his life especially Karen Blixen’s female biographers, given to conflating her fiction with fact, never questioning her version of the truth in which Bror is an uneducated barbarian who didn’t know if the Crusades came before or after the Renaissance, the diametrical opposite of her lover, the Swinburne-spouting dandy Denys Finch Hatton a man she deemed unconditionally truthful.

    Bror’s godson and only biographer Ulf Aschan called him a radiant sunburned extrovert who was so irresistible that women pursued him, not the other way around, in The Man Whom Women Loved and Gustaf “Romolus” Kleen, his nephew, described him as likeable, generous, intelligent, at one with everything. Male writers have championed him as fearless, formidable, tough, competent, unpretentious, one of the greatest professional hunters in East Africa between the wars, a courageous tracker, an almost perfect shot and the most inventive pursuer of big ivory. The beautiful, innocent wildlife of East Africa, always in his crosshairs, weaves throughout this narrative of colonial depredations.
    Nyama (Meat), published in Swedish in 1937 and translated the next year into English as African Hunter appeared right before Out of Africa. A perceptive reviewer in the New York Times remarked that except for the locale and the same people the books had nothing in common, “nor does each have a place of importance in the other’s writing.” A review of Bror’s second memoir The Africa Letters published in 1943 and translated into English in 1988 declared his greatest claim to fame was giving his wife syphilis.
    Both memoirs, written by a professional ghostwriter with a clear eye on contemporary attitudes about conservation, which may or may not have actually been Bror’s, are based on his experience. While the ideas expressed often seem at dramatic odds with his actions we accept them at face value knowing the bare facts of his hunting life are powerful and disturbing enough to shine though.
    Bror’s free-spirited behavior which caused so much consternation during his lifetime was typical of his noble caste’s during the dismantling of the 800 year old European aristocracy when noblemen of ancient lineage became disoriented servants to the plutocrats, the New Men of the Second Industrial Revolution. Born into the loftiest of the four estates in Sweden he remained like that other European aristocrat Winston Churchill, a spendthrift, self indulgent, disreputable, wayward, rootless, supremely self confident , indifferent to consequences and disdainful of what he called filthy money matters.

    Lucia Adams
    Chicago 2018

  18. Nancy says:

    This is fantastic and thorough advice. After reading it, I feel energized to continue with my writing, more confidence, better informed and most importantly the realization that “YES I can actually try and, it’s not unrealistic”

    I’m very excited to show my pitch. I’ll let you know how it goes. You just never know.

    Thank You for spending the time explaining the process.

    1. Script Reader Pro says:

      That’s great to hear, Nancy! This is why do this – for writers like you 🙂

  19. Kane Clavizzao says:

    Hello my name is Kane clavizzao I am an author of a children’s book that two-headed caterpillar I like to bring a couple of my books ideas to you I think they would be great for a movie or even a series my phone number is 470-775-5263 thank you

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    (217) 691-9648

  21. Jonathan Mansfield says:

    you need to pick up One Mississippi. Aside from the show’s originality, One Mississippi was the most relevant show in this time. Not only is it reavling modern material in a real time format it is necessary for everyone when it comes to the future possible dealings of sexual predators. You have Tig already on your network with her standup and biographical documentary, ceal the deal by picking up a third season of One Mississippi.

  22. Tanmay Dalvi says:

    Hi my name is Richard Ray. I love to write for your site. May be you like teens love/detective stories. Just give me one chance.

    1. Script Reader Pro says:

      Sorry, Tanmay, we’re not a production company.

  23. dale mcinnes says:

    My approach is a little different. Its good to see the outline you provided. It makes sense. I took the approach that it makes more sense to first view a childrens film that has won international accolades produced in the early part of the 20th C. Secondly, and most importantly, write a novel if it was never based on one by using the same identical theme BUT changing all the characters, places, and events and expand and update the specifics. Third … expand it into a series of several novels. This I have done using Amazon as a platform for reproduction. Fourth …. DON’T publish it. Fifth …. come up with a striking title that is dynamic and easy to remember. This can be done by using previous titles of major well known works and then ‘tweaking’ the title to suit ones own concept. That done, both the story and title can be ‘tweaked’ yet again by a network company. It gives them latitude if it hasn’t been previously published. Not saying this is going to work but I have done some of the exhausting grunt work to get to this point. I have also promised to commit to 80 novels spanning 10 years and offer my assistance as a script writer. Organizing is everything. One voice of caution. I still have a pretty good chance of NOT making it still.

  24. Noahjj says:

    I have an amazing tv show idea that blew away my whole family i just want to pitch it to Netflix

  25. Essence scott says:

    I have amazing idea for a show about wives of gangesters in nineties and milleimum times it will be based in Bronx my name is essence Scott the show should be on vhl

    1. Script Reader Pro says:

      Best of luck with it!

  26. Matt Corderoy says:

    Sounds pretty gruesome to blow away your family man…!

  27. Kevin Guerrero says:

    I have an idea so good it will blow your mind.the super Mario brothers super show.with super stars in need for help like the classic Mario show I have a video so cool I made but don’t know who to send it too…please contact me privately for video upload and info I also have another idea Real events of a bus driver ,,the show with real everyday events of transportation…

  28. Mike says:

    I have the one that will be the best…!!! 5 min shorts…that everyone will stay tuned in…they will want to know what he’s up to… Every moment of the day..

  29. Mike says:

    Email me script reader pro.. you will want to hear this one…it’s G 55 classified lol

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