TV Pilot Sales Approach

I understand the route to pitching a TV pilot & series is to write a spec script for an existing show which, if produced, will establish your name in Hollywood thus facilitating the pitch of a new idea.

Another option is to get an agent/management group to represent the package (spec script, treatments, and detailed character descriptions including their motivation and conflicts), or sell the franchise to an independent producer/production company and have them assign an experienced screen writer to the project. I'm ready to sell the concept and step aside in exchange for a "created by" credit, negotiated options and agreed upon purchase price. Why? I prefer writing novels to scripts but at another agent's suggestion, I rewrote one of my novels into a television format.

With successes like "My Big Fat Greek Wedding" and "Antwone Fisher", I know anything is possible. But how realistic is the approach of selling the concept and not myself as a screenwriter? Also, how many show began this way? Any examples? Thanks.

I understand the route to pitching a TV pilot & series is to write a spec script for an existing show which, if produced, will establish your name in Hollywood thus facilitating the pitch of a new idea.
Sort of.

How it NORMALLY happens (and this is a big disclaimer, because there is no normal way that everybody gets in) is that a writer writes a spec script for an existing show - the spec script will never be produced, it's only there to show producers/story editors that he/she can write in the voice of a particular show. If the spec is good, the writer gets a chance to pitch story ideas for the series. If a pitch is liked, that writer gets a chance to write a freelance episode for the series.

Eventually, the writer gets hired onto some show as a staff writer and writes more episodes. He/she eventually gets promoted to head writer. Writers with experience as head writers gets chances to pitch new series ideas.

It's pretty rare that a writer without extensive experience gets an opportunity to create/write a pilot. I've never heard a case of anyone selling the concept in the way you've described.

You may want to run this past your agent and see if he thinks he can get you pitch meetings with anyone who might be in a position to help.

Best of luck!

First a quibble with your second option:

Another option is to get an agent/management group to represent the package (spec script, treatments, and detailed character descriptions including their motivation and conflicts), and sell the franchise to an independent producer/production company and have them assign an experienced showrunner to the project.

Now, on to your questions:

>"how realistic is the approach of selling the concept and not myself as a screenwriter?"

Given that you are a novelist, not a screenwriter, I'd say the above approach is more realistic. But keep in mind that it's still a long shot. You just went from a snowball's chance in hell to a waxball's chance in hell.

>"Also, how many show began this way? Any examples?"

Exactly that way, none that I can think of off hand.

The closest example that comes to mind is The Dead Zone, but that was a published novel that they did that as a movie first, a while back. Speaking of King's stuff, there was also some talk of using the recent Firestarter MOW (TV Movie of the Week) as a backdoor series pilot, but I don't know if anything's come of it.

There are also several examples of graphic novels (i.e. comic books) being adapted as TV series: Smallville, Birds of Prey, etc.

Outside of the SF stuff, there's M*A*S*H, but that followed on the heels of the movie. And there's Poirot, based on Agatha Christie's series of novels, many of which were first done as features.

Of course, Michael Crichton created ER, but I don't think that was based on a novel. Or was it?

It seems to me that your best bet is to publish it as a novel, and then try to get someone interested in buying the rights to use it as a backdoor pilot.

As a bonus, you would still own the characters - Maestro

InvaderUjin,

Thanks for taking the time to respond.

You're correct, ER wasn't based on a novel. Michael originally wrote it in the late 70s as a feature based on his experiences in an urban emergency room.

Thanks for the info, Willie.

And, since RC didn't thank me, I guess I won't mention Nero Wolfe and The Lost World.

Maestro

Maestro,

Thank you, thank you, thank you. I appreciate all of your valuable information in helping me with my endeavor. Again, thank you.

rc

No problem, RC. I meant that tongue-in-cheek since I obviously did mention Nero Wolfe and The Lost World.

You may also find this interesting:

www.eonline.com/News/Item...62,00.html

[Stephen King] is putting his macabre mind to the health-care system, having penned a 15-hour miniseries for ABC titled Kingdom Hospital.

Maestro

who said Nero wolf, love Nero Wolf, missed that reference. the books by Rex Stout are great reads also.

I'm not sure if you could sell a concept and get a "Created by" credit. I have a feeling that the credit is usually tied to the "Written by" credit because so much of the creation of a show is character development, which is plot and dialogue combined.

Pitching is dominated by show runners and studio development departments (who are look to writers with term deals and take pitches, usually set up by agents). The studios obviously have connections with the networks.

Anthony Zuiker (creator and executive producer) of "CSI" had never written a TV spec when he sold the series. He was working in Los Vegas, (having taken screenwriting classes) and writing feature specs. He got a couple things produced (I don't know at what level, but I don't believe they were studio films). In any case, he was getting pitches in LA and flying in occasionally to take meetings. One of his spec scripts circulating was passed to Jerry Bruckehimer's president of the television division. He was so impressed with the script that he contacted Anthony and asked if he ever considered writing for TV.

They met. Anthony suggested the show that became "CSI," they put together a pitch and (after being turned down by all the other networks) CBS said, "Go write it. You have two weeks" . . . and, like I said, he had never written a TV script before. But he was writing feature scripts.

If you're published, that may open doors (though a query letter or a personal referral) at studios or independent production companies. Check out the credits on TV shows to find the production companies (the logo credits at the end). Send a query letter to get a meeting.

If you have something totally original and new, try to get some buzz going about it. If I'm not mistaken, South Park started as a Christmas joke--a short sent to friends. It got into the hands of someone who saw the potential, and one thing led to another. Now they're rich and working. Hollywood has a ton of people who got their start through word of mouth.

The long way around, is to break into TV as a staff writer, work your way up through the writer/producer ranks and make contacts at the studio and networks and in a few years get a chance to pitch. Assuming that you can make that first step onto a writing staff and continue to work. The fatal Catch 22.

Hope this helps in some way.