Writing a teleplay is quite a bit different from writing a feature…or so I’m learning. With the ever expanding television market in need of fresh content, a screenwriter looking to break in must have a well rounded portfolio.
I hadn’t really given writing for TV much attention prior to the new “golden age” because none of the story ideas I had felt like they could be sustained for multiple episodes over multiple seasons. That was until The Demeter, my sci-fi/space/family drama. As I dug in and got to know my characters and the new world(s) I was creating, the more I realized it could not be contained to a single film, or even two.
I suppose that’s a good measuring stick for a story’s place and purpose.
So I gave my idea a go and wrote a pilot.
After what I was hoping would be my last rewrite, I asked one of my AFF friends to give it a read and offer some feedback*, and goodness, did she deliver. The most useful note I received was that my protagonist had become passive halfway through the script.
I did not see this. And this is why it’s useful to get an outside perspective.
There are a lot of points to hit in any screenplay but in a pilot, it needs to happen quickly. You not only need to introduce your characters, the world, the plot, your voice, where the story is going to go, and your characters’ desires but you also need to do all this in anywhere from 30 to 60 pages. Roughly.
And all while making it unique and interesting and coherent.
When you write a feature you still have all the same boxes to tick but without the need to sustain the story long term, the information given is precisely chosen, and therefore the story is streamlined.
Among the feedback, my friend also sent me this graphic from writer, David Steinberg which is both helpful and maddening.
According to the graphic, there are 10 things your pilot must do or set up in addition to some of what I listed above. Take one of your favorite tv shows and compare the pilot to these necessary elements. Does it hold up? Is anything missing? In light of these elements, or lack thereof, are any of these the reason you tuned in each week?
If you’ve been considering writing a pilot, and you find yourself overwhelmed by all of this information, don’t be put off, like I was initially. Discovering my protagonist had stopped being proactive makes a major rewrite the inevitable next step, and while a crushing blow, a necessity. This is why rewrites are considered the actual writing. They fine tune and make us aware of what’s needed to create a well rounded, compelling story.
I’ll have more tips on this topic in the coming weeks, but if you have any questions in the meantime, please feel free to ask!
*With any feedback, it’s important to note that you should take it with a grain of salt, at least until people are paying you for your work. And then you may have to pick your battles. Your story is yours, and while feedback is helpful, pick and choose what best serves your story.