They’re struggling with it. Raymond of, fame would not have been a series if his parents didn’t live next door. For example, consider a beloved fantasy series like Ursula K. Le Guin’s Earthsea books, in which a young wizard chases his sinister, escaped shadow across multiple lands. If you need a visual cue, just watch an hour long show like Grey’s Anatomy , or whatever else, and pay keen attention to the commercial breaks. Please include an A, B, and C story in each episode (the main scenario of that episode with supporting subplots to flesh out the episode). Do not assume that I’ll be able to know or figure out where your characters are headed by just your idea and your technically well produced sizzle reel. A big part of learning how to write a series is learning what themes and plot ideas will suit a more expansive treatment. With television, you’re creating a world with a cast of characters that will hopefully continue on for upwards of 10-24 episodes (give or take) for multiple seasons, thus the main story will not be resolved by the end of each teleplay or television script.

You’ll also notice that some pilot scripts like the the 70 page The Sopranos, the 55 page Mad Men,  and the 61 page Game of Thrones don’t have act breakdowns at all. I’m interested in substance, I’m interested in a series that my audience will binge on and discuss in social media and in person until they demand new episodes of that now sought-after new television series. With film, you’re generally telling a story that is contained within the time frame of ninety minutes to two hours plus. — Five characters living in Pasadena, the two leads are physicists at Caltech. A sizzle reel is useless. Basic cable shows can say “shit” a certain number of times and can show bare buttocks and side views of breasts, but that’s it. They are usually broken up in those above acts. And if you’re including harsh language and nudity, you need to know which of those channels will allow that. When you have a proven hit film with your name on it, it’s much easier to pitch pilots to the powers that be. This TEASER will usually be a short opening, maybe one location. For shows like Lost, Breaking Bad, Grey’s Anatomy, The Walking Dead, or any other hour long episode, you’ll often see the character either in peril by the end of it, or the conflict of the story will be teased. I need to read the dialogue exchanges, the pace and flow of your story and any unique aspects that may shine within your script. This idea has not only already been done — think. The television medium is currently in an amazing golden age where storytelling has never been stronger. She is currently studying for an MA in Screenwriting at the IADT’s National Film School. If you need a visual cue, just watch an hour long show like Grey’s Anatomy, or whatever else, and pay keen attention to the commercial breaks. Do you see a pattern here? As an exec I should be able to determine character arcs and seasonal arcs of your series by the way you present your episode breakdowns. He has had a previous development deal with Lionsgate, as well as multiple writing assignments, including the produced miniseries Blackout, starring Anne Heche, Sean Patrick Flanery, Billy Zane, James Brolin, Haylie Duff, Brian Bloom, Eric La Salle, and Bruce Boxleitner.

• Enter the ScreenCraft TV Pilot Screenwriting Competition here.