Television Development
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pilot season
the period from February through April when broadcast network pilots are cast and shot.
POD
a non-writing EP and/or production company with a “POD” deal (short for producer overhead or overall deal) at a TV studio; pronounced like “pod” in “peapod.”
pre-notes
a call or meeting in which people on the same team preview their notes with each other and agree on which notes to deliver so the group delivers a unified, consistent set of notes.
procedural
1. a traditional category of one-hour drama series that includes cop shows, medical shows, legal shows and PI (private investigator) shows.
2. a kind of show that emphasizes the process of how characters do a complicated job or task; e.g., CSI: Crime Scene Investigation was a police/science procedural and Breaking Bad incorporated elements of a criminal procedural.
production company
a company owned and operated by a producer that develops and produces TV series.
programming executives
a network’s management personnel who work in development, current or program scheduling.
put pilot
a pilot with a guaranteed network production commitment upon initial purchase (pronounced like “put the cake in the oven”).
rooting interest
a wishful feeling a viewer or reader has that a specific outcome befalls a character or story.
serialized storytelling
stories told over the course of multiple episodes or multiple seasons.
series drive
a storytelling device that assigns a goal to a lead character that will take the character many seasons, or potentially an entire series, to achieve.
spec pilot script
a pilot script a writer writes without any network commitment, sometimes written on the speculation that a network may want to buy it, but often written simply as a sample of a writer’s abilities; often known simply as a “spec pilot” (though technically a true “spec pilot” refers to a produced pilot a studio produces without a network commitment that the studio believes it can sell to a network, which is rare but does occasionally occur).
stakes
what’s at risk for a character if he doesn’t get what he wants or doesn’t achieve his goal.
story area
a short prose document describing the beginning, middle and end of a pilot story for network approval before the writer is commenced to write the more detailed pilot story outline or pilot script.
story engine
the mechanism at the heart of a series concept that generates many new stories and episodes such as a franchise or series drive.
straight-to-series
a network commitment in which the network buys a piece of development and orders it straight to series rather than developing a pilot script or pilot episode.
table read
a read-through of the pilot script by the cast (typically dressed in civilian clothes) to allow producers, director, network and studio executives to hear the entire episode performed in sequence by the actual actors for the first time before production of the pilot or first episode begins.
take
a preliminary idea to translate a creative thing into another form or version; e.g., a writer pitches a take on how she would turn a book into a TV series or an actor discusses his take on bringing a character to life on film.
test
a final audition for a pilot or series lead role held first at the studio to narrow the short list of actors in contention and then at the network to decide which actor is cast in the role.
test deal
a contract an actor signs before a studio or network test that includes the actor’s fees per episode should he or she get the part.
upfronts
presentations made by networks announcing their new programming slates and/or schedules to advertisers and entertainment media in New York City each spring; considered the end of the broadcast network development cycle.
world
the setting and time period of a series.
Zeitgeist
from the German meaning “ghost of the time” or “spirit of the age”; the deepest social and cultural undercurrents of a society at a given moment in time.
Acknowledgments
When David Craig, Clinical Assistant Professor at USC’s Annenberg School for Communication and Journalism, invited me to co-teach a course on visual storytelling with him in 2013, he asked me to cover TV development. I was excited to teach my first college class and told him I’d be happy to do it. “There isn’t a textbook on TV development we can assign, though,” David warned. “The book doesn’t exist.” When I expressed my surprise, he said, half-kiddingly, “You should write it.” The thought always stuck in my mind.
David has continued to be a teacher, mentor and friend, and I’m extraordinarily grateful for everything he’s done to help me not only begin my teaching career, but to realize this book. It would not exist without his help.
Neil Landau, Assistant Dean, Dean’s Special Programs and Co-Director of the MFA graduate screenwriting program at UCLA’s School of Theatre, Film and Television, introduced me to Focal Press, and has generously continued to serve as an advisor and friend, and I’m grateful for his support.
Also at UCLA, Barbara Boyle, Denise Mann and Glenn Williamson have been supporters, and I greatly appreciate their guidance and encouragement. Much of the material in this book is based on courses I’ve taught at UCLA and Cal State, Northridge. At CSUN, I owe a debt of gratitude to Robert Gustafson, Jon Stahl and Ted Frank (to whom I owe a lifetime of thanks).
Anita Elberse, Lincoln Filene Professor of Business Administration at Harvard Business School, generously shared her time with me to expand upon her case study of the development of House of Cards, and I’m grateful for her expertise.
Many entertainment professionals welcomed me into their offices or shared their experience and wisdom by phone or email as I researched this book. I’m enormously grateful to all of them: Glenn Adilman, Lijah Barasz, Kateland Brown, Karey Burke, Helga Bryndis Ernudottir, Bruce Evans, Jason Feuerstein, Jane Francis, Lesli Linka Glatter, Vera Herbert, Gaye Hirsch, Gregg Hurwitz, David Janollari, Marlene King, Jonell Lennon, Warren Littlefield, Kristin Lowe, Leslie Morgenstein, Michelle Nader, Robert Palm, Julie Pernworth, Julie Plec, Elizabeth Allen Rosenbaum, Susan Rovner, Thom Sherman, Jay Sures, Reed Van Dyk and Graham Yost.
My cousins Judy and Lee Shulman offered early and consistent encouragement of this endeavor, and I’m deeply appreciative of their love and support.
The chapter in this book on pitching was adapted from a paper I wrote and a lecture I gave to students of UNIJAPAN in Tokyo. I’m grateful to Satoshi Kiyota and Taiga Kato of UNIJAPAN for that opportunity.
Brenna Galvin worked diligently as a contributing researcher and proofreader, and I thank her for her eagle eye.
Simon Jacobs and John Makowski are my editors at Focal Press, and I can’t express enough thanks for the opportunity they’ve given me and for their guidance and patience.
Lastly, I’m enormously appreciative to all the colleagues, collaborators, and creative partners I’ve had in television in Hollywood during the past 25 years. Most of what is in this book I learned from them.
Index
$#*! My Dad Says 8
20th Television see Twentieth Century Fox Television 24 158
“A” (Pretty Little Liars) 149, 181, 223, 229
A&E 115
A&E Studios 33
ABC 7, 12, 18, 33, 57–58, 102, 107, 114, 116–117, 122, 187, 219, 232, 242
ABC Family 113–114, 227–228, 235
ABC Studios 18, 33, 58, 283
Abrams, J.J. 21, 198
actors 2, 6–9, 21, 23, 26, 37, 41–49, 52–53, 56, 60, 63, 71, 104,118, 121,144–145, 152, 192–194, 196–197, 201–204, 206, 210, 213–215, 219, 233, 238, 246, 250, 269
Adventures of Ozzie and Ha
rriet 83
agents 2, 11, 21, 25–26, 28, 30, 32, 34, 40–43, 46–47, 60–63, 66, 100, 102–104, 108, 110–113, 121, 128, 153, 158, 185, 191–205, 208, 210–211, 215–218, 239–241, 246–253, 260–261, 263, 266–269, 280, 282–284
Alison (Pretty Little Liars) see DiLaurentis, Alison
Alloy Entertainment 101, 105, 221–225, 227, 230
Ally McBeal 70
Amazing Race, The 261
Amazon 12, 18, 83, 114, 119–120, 122, 211, 252, 277, 279–280, 283
AMC 12, 15, 40, 114, 118, 122, 126–127
American Beauty 137
American Horror Story 71
Amos ‘n’ Andy 116
Andi Mack 125
Andy Griffith Show, The 69
Animal Kingdom 128
Aniston, Jennifer 215
Anonymous Content 204
anti-heroes 83–84, 173
Apple 2, 18, 114, 119, 122, 280, 282
Archibald, Nate (Gossip Girl) 146
areas 102–105, 107–112, 194, 213
areas, story see story areas
Aria (Pretty Little Liars) see Montgomery, Aria
Armageddon 261
Arnaz, Desi 277
Arrow 114
Atlanta 70
auspices 29, 207, 210
Awkward 267–268
Back in the Game 107
backend 32–33, 195–196, 260
Ball, Lucille 277
Band of Brothers 71
Barasz, Lijah 266
Baretta 81
Bass, Chuck (Gossip Girl) 142, 154
Bates Motel 115
BBC America 115, 118, 122, 204
Bean, Sean 154
Bellisario, Troian 231, 233–234
Benson, Ashley 232–234
Berlanti, Greg 25, 208, 261
Beverly Hills 90210 76
Beverly Hills Cop 261
Bewitched 69
Big Bang Theory, The 69
Big Little Lies 273
bites 226
Black Mirror 71, 139
Black-ish 78
Blacklist, The 82
Blair (Gossip Girl) see Waldorf, Blair
blind script deals 217–218
Blink 268
Blum, Jason 261
Bochco, Steven 81
Bold Type, The 114, 266
Bolton, Ramsey (Game of Thrones) 87
Bosch 83, 283
Braun, Lloyd 102, 106, 242
Breakdown Service 42, 44
Breaking Bad 40, 80, 82, 84, 86, 96–97, 133–136, 147–152, 154–156, 171, 174, 178–181, 275
Brooklyn Nine-Nine 18
Brown, Kateland 264–266, 270
Bruckheimer, Jerry 25, 261
Buffy the Vampire Slayer 93, 155
Bull 20, 283
Burke, Karey 7, 57, 187
Bush, Sophia 219
business affairs executives 32, 37, 47, 120, 196, 258
Byron (Pretty Little Liars) see Montgomery, Byron
C.K., Louis 70
CAA (Creative Artists Agency) 193, 204, 256, 266
cable: basic 12–14, 27, 39, 59–61, 82, 113–114, 117–118, 121, 123, 126, 130, 189, 228, 240, 279–281, 284; premium 12, 68, 76, 118–119, 121, 123, 130, 189, 206–207, 240, 279, 281, 284
Carnegie Hall 59
Carr, Rachel (Gossip Girl) 154
Cast Away 102, 242
casting concept calls 42, 44
casting directors 41–45, 47–49, 52, 63
casting executives 41–42, 44, 47–49, 218
CBS 8, 12, 20, 21, 92, 94, 115–119, 122, 209, 258, 270
CBS All-Access 115, 119, 122, 277
CBS Corp. 261
CBS Television studios 107
Chase, David 173
Chicago P.D. 75
Chopra, Priyanka 219
Clarke, Emily (Revenge) 98
Clegane, Sandor (Game of Thrones) 96
Clooney, George 74
closed-ended storytelling 77
Cold Case 261
comedies 35, 38, 43, 53, 62, 67–74, 78, 83, 94, 122, 125, 147, 163, 170, 176, 203, 240; multi-camera 53, 68–70, 72, 123, 277; single-camera 53, 68–69, 72
Comcast 18
cop shows 73–79, 81–83, 85–86, 92–96, 98, 128, 155–158
Cosby Show, The 69
cost-plus 212
Counterpart 15
Crane, David see Kaufman, Marta & Crane, David
Crazy Ex-Girlfriend 107
creators 22–23, 25, 32, 40, 58, 99–100, 116, 121, 193, 195–196, 204, 208, 211–212, 259, 261–262, 277–278, 280, 284
Criminal Minds 261
CSI: Crime Scene Investigation 86, 155, 157, 261
current executives 13–14, 17, 22–23, 99, 194, 218, 258–259, 275
CW, the 12, 107, 113–115, 116–118, 123, 184, 225–227, 230, 235, 268
Dallas (1978-91) 76
Dallas (2012-14) 128
Daniels, Susanne 260
Dawson’s Creek 76
DC Comics 283
DeGeneres, Ellen 211
demographics 55, 88, 123–126, 188
Desperate Housewives 156, 222, 226
development: assistants 29, 128, 238, 247–254, 257–258, 261, 263, 270; executives 1, 2, 6–8, 11, 13–15, 17–18, 20–21, 23–26, 28–31, 34–35, 37–41, 43, 45–49, 52–53, 55–58, 60–63, 66–68, 83, 91, 95, 99, 101–104, 107–112, 120–122, 124–131, 137, 139–142, 145, 147, 150–151, 153–154, 156–161, 168–170, 176, 178, 180–181, 184–189, 194–203, 210–211, 213–214, 218–219, 221, 224, 226–228, 230, 233, 235–236, 238–244, 246–254, 257–261, 265, 267–268, 270, 275–277, 280, 282, 284; professionals 24–26, 29–30, 43, 59, 64–68, 73–74, 78–79, 81–83, 88, 93–95, 97, 101, 103–104, 106–109, 124, 127–128, 130, 164, 168–170, 179, 181, 185, 188, 199, 237–244, 247–248, 250–252, 260, 262, 272, 274–275, 279–285; retreats 61–62, 102–104, 107, 274
Dexter 82
Dharma and Greg 240
Dick Van Dyke Show, The 69
DiLaurentis, Alison (Pretty Little Liars) 36, 99, 181, 223, 225, 228–229, 234
directors 1, 2, 7–10, 19–21, 26, 32, 37, 41, 43, 46–49, 52–54, 59, 104, 109, 121, 185, 192–193, 196–197, 201–202, 204, 206, 210–212, 214–215, 219, 231–232, 238, 246, 250, 269, 275, 277
Directors Guild of America (DGA) 54
Disney 11, 18, 57–58, 115, 124, 173, 279, 283
Disney+ 115, 120, 122
Disney Channel 114, 119, 121–123, 125–126
Dobkin, David 211
doctor shows see medical shows
Dr. Ken 211
Dr. Kildare 76
Dragnet 70, 81, 98
dramas 35, 38, 53, 62, 67–68, 70–77, 82, 91, 93–94, 96, 110, 122–123, 126–128, 147, 163, 170, 203, 268, 277, 283–284
dramedies 70, 72, 107, 123, 179, 268
Dunham, Lena 120, 241, 245, 262, 273
Eastwick 232
Eastwood, Clint 173
Ella (Pretty Little Liars) see Montgomery, Ella
Emily (Pretty Little Liars) see Fields, Emily
Empire 96
Endeavor 193, 261
Endeavor Content 204
ER 76, 156
Everwood 262
Facebook 2, 18, 280
Facebook Watch 114, 120
Fake Empire 109
Famous in Love 265
Fargo 8, 71, 187
Farrow, Mia 76
Father Knows Best 69, 83
FCC (Federal Communications Commission) 117
Fields, Emily (Pretty Little Liars) 36, 142, 148, 228, 231–232, 234
Financial Interest and Syndication Rules (“fin syn rules”) 18
First Wives Club 283
first-look deals 217–219, 224
Fitz, Ezra (Pretty Little Liars) 149–150, 233, 235
Flashdance 261
Flesh and Bone 72
formats 65–72, 76, 81, 93, 95, 101, 115, 120, 122–123, 125–126, 128, 151, 209, 211, 277–278
Fox (network) 12, 18, 76, 114, 116–118, 122, 268
Fox 21 72, 189
franchises 87, 91–98
Francis, Jane 189
Freeform 58, 114, 118, 122, 124, 227
Friday Night Lights 96, 127
Friday, Detective Joe (Dragnet) 98
Friends 16–17, 69, 146, 215
Fring, Gus (Breaking Bad) 154–155
Fukunaga, Cary Joji 273
FX 12, 40, 71–72, 115, 118, 122, 127, 244
Game of Thrones 84–85, 87, 96–97, 101, 154, 240, 283
Geller, Ross (Friends) 146
generals 104, 109, 227, 259
genres 65–67, 72–78, 81–83, 86, 91–93, 95, 97, 100–101, 103, 106, 127–128, 156, 269, 276, 283, 284
genre shows 78
Gerardis, Vince 283
Gersh 193, 268
Gilligan, Vince 86, 133, 136, 154–155, 172–173, 175–176, 178–180
Gilligan’s Island 69
Gilmore Girls 238
Girls 240, 246
Glatter, Lesli Linka 232–234, 238
goals 79–80, 85, 97–98, 135–137, 138–141, 150–152, 170, 173–179, 181–182
Godfather, The 82
Goldbergs, The 78
Good Doctor, The 75, 283
Good Fight, The 75
Good Wife, The 95
Gordon, Mark 25, 261
Gosling, Ryan 144
Gossip Girl 1, 2, 76–77, 105–106, 109, 114, 142, 146, 154, 221–222, 240, 275
Grant, Lou (The Mary Tyler Moore Show, Lou Grant) 94
Green Eggs and Ham 211
Green, Rachel (Friends) 146
Grey’s Anatomy 74, 156, 242, 261
Guide Dogs of America 107
Hale, Lucy 230–231, 233–235
Halt and Catch Fire 284
handles 142–43
Handmaid’s Tale, The 8, 21, 187, 262, 284
Hanks, Tom 102
Hanna (Pretty Little Liars) see Marin, Hanna
Harding, Ian (Pretty Little Liars) 233
HarperCollins 224
Hart, Kevin 145
Hastings, Melissa (Pretty Little Liars) 143
Hastings, Spencer (Pretty Little Liars) 142–144, 148, 228, 231, 234
Hawaii-Five-O (1967-80) 81
Herbert, Vera 267–268
High Maintenance 120, 277
Hill Street Blues 81–82, 95
Hirsch, Gaye 184