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Pilot Pick-Up Review (Cable) – 2011-2012 Season

Development season is right now, and with the scripts picked to pilot about to be (or already) shot, the next best thing besides watching the finished product is reading them. As well as reviewing them.
Here is our final installment for the season, with some of the most anticipated cable pilots around.
(Given that most of these pilots have either already been picked up to series or will have their fate announced in several months, I thought it best to focus on the reviews.)

FX
Dramas (One-hour)
American Horror Story (Brad Falchuk/Ryan Murphy)
Logline: A dramatic series that explores a subversive modern horror tale.
With: Connie Britton, Jessica Lange, Dylan McDermott, Denis O’Hare
My thoughts:
I’m not the hugest Falchuk/Murphy fan (especially following that second season of Glee), but I have to admit they’ve got me hooked after reading this script.
Sure, the haunted house plot has been (virtually) done to death (yes it’s a haunted house story), and some people will continue to argue that they’ve “been there, done that”, but the pilot was not only very interesting but also not your classic “jump scare” horror flick. This is clearly angling to be a more psychological drama with supernatural elements rather than your run-of-the-mill spooky ghost story.
The biggest issue I’m having though is not with the pilot itself, rather the series as a whole. I’m having a hard time grasping how the concept of a haunted house psychologically torturing its inhabitants can last more than, well, a few episodes, let alone a full season. Longevity-wise, American Horror Story might be a gamble (depending on how serialized the show goes).
The cast however, is pretty much perfect.

Powers (Charles Eglee)
Logline: A dramatic series based on the series of graphic novels by Brian Michael Bendis. Heroes glide through the sky on lightning bolts and fire. Flamboyant villains attempt daring daylight robberies. God-like alien creatures clash in epic battle over the nighttime sky. And on the dirty city streets below, a homicide Detective Christian Walker does his job, solving murders involving superheroes, but he has secrets of his own.
My thoughts:
The closest show that comes to mind when reading the script is NBC’s own 17th Precinct, although Powers is clearly aiming to a much more, let’s say, grittier audience. Here again, you’ve got a serious cop show, and although 17th was the CSI of its genre, Powers is indeed closer to The Shield as some have described it. I would also compare it to a masculine version of Prime Suspect (albeit with superpowers involved). As any avid fan of the comic version will tell you, the world works and the story isn’t as ridiculous as it sounds. This is clearly not a lame The Cape-like series.
The disappointing side is that, since the show is so close to a cop show procedural, it ends up being not that compelling or original. Maybe future episodes will bring more interesting happenings.

HBO
Drama (One-hour)
More As This Story Develops (Aaron Sorkin)
Logline: A workplace dramedy with political elements set behind-the-scenes at a cable news network.
With: Jeff Daniels, Olivia Munn, Alison Pill, Marisa Tomei
My thoughts:
This one is without a doubt the most anticipated series of the bunch.
Cast-wise, you can guess I’m not the biggest fan of Olivia Munn (and I’m not really sure why she’s in there anyways). I’ll however be digging the Jeff Daniels/Marisa Tomei confrontation/omnipresent sexual tension.
What’s interesting is that no one has asked the most important question about the show: when does it take place.
Is it a period piece or is it set in an alternate world?
Well the answer is: neither (sorta). I have to issue a spoiler alert here (although if you’re reading this then chances are you don’t care).
The news show is set on, drumroll please…April 20, 2010. And if you know your (very) recent History, then you know that date corresponds to the Deepwater Horizon explosion. That’s right, the big reveal of the pilot (that pretty much comes halfway through it), is that the series goes on about a year before, well, right now. What a great way to comment on the media’s way of covering recent news without trespassing on The Daily Show/The Colbert Report.
Clearly Sorkin does not venture outside of his comfort zone with More As This Story Develops, and there’s nothing you won’t be able to find in his three previous shows. This is also not Network. Yet it’s still plenty interesting and compelling.
Clearly the man knows how to write–but who am I to state the obvious.

Comedies (Half-hour)
40 (Doug Ellin)
Logline: A single-camera ensemble comedy project that revolves around four lifelong friends who help each other navigate life at 40, which isn’t all they expected it to be. There’s the married milquetoast, the family man whose career’s been decimated by the financial collapse, a wealthy metrosexual and an impossibly toned trainer. Together, they face the terrors and joys of life past the fourth decade.
With: Edward J. Burns
My thoughts:
Four middle-aged guys living their lives. As you’d expect, it’s not that interesting. And although Entourage mainly worked thanks to the mystique and crazyness that is H-Wood, 40 doesn’t simply because of the mundane of it all. It’s never outrageous, it’s never laugh-out-loud hilarious, it just is.

Veep (Simon Blackwell/Armando Iannucci)
Logline: A political comedy centering around a female senator who ascends to the office of vice president, only to realize it’s nothing like she expected and everything everyone ever warned her about.
With: Sufe Bradshaw, Anna Chlumsky, Tony Hale, Julia Louis-Dreyfus, Reid Scott, Timothy Simons, Matt Walsh
My thoughts:
I continue to find The Thick of It and In the Loop both amazing, so it is without hesitation that I jumped on the script of Veep as soon as I had it.
First the good news: Yes, it’s funny.
Plus you’ve also got Blackwell’s astonishingly brilliant insults flying around (although these ones won’t be uttered by Peter Capaldi).
With that said, the subject-matter of the show, as always with political series, brings back memories of The West Wing. And if you know Iannucci’s style, then you also know he’s not only a master of satirical dialogue, but also of quick back-and-forths, similar to Aaron Sorkin. Obviously, the storylines are not as dramatic as The West Wing, but you won’t be able to deny (at the very least) a spiritual connection between the two shows.
It’s not a strike against Veep though.

Showtime
Drama (One-hour)
Homeland (Alex Gansa/Howard Gordon/Gideon Raff)
Logline: An action-adventure drama based on the Israeli Keshet format “Prisoners of War.” In this iteration, an American soldier who was presumed killed in Iraq returns 10 years after he went missing. But after the joy of his homecoming dies down, suspicions arise as to whether he was really an American hero or if he was part of a sleeper cell planning a terrorist attack.
With: Claire Danes, Laura Fraser, David Harewood, Diego Klattenhoff, Damian Lewis, Jackson Pace, Mandy Patinkin, Morgan Saylor
My thoughts:
Sure there’s plenty to like with this pilot. It’s interesting and the story holds (for how long?). But you can’t shake the feeling that Sleeper Cell has already covered most of that terrain five years ago. And that was a mini-series–well, technically, two.
Not that I want to be that guy again, but I’m also having troubles finding a longevity in the concept beyond a single season. Sleeper Cell somewhat successfully achieved one with its second season by not only changing virtually the whole cast but going into a very different direction. I’m curious to see how Homeland will game the system.
The story of the girl that cried terrorist can only work for so long.

Comedy (Half-hour)
Seek and Destroy (Neal Brennan/Dov Davidoff)
Logline: A mixed sitcom that will combine elements of single-camera comedy, sketches and man-on-the-street interviews. Each episode begins with stars Neal Brennan and Dov Davidoff discussing life over coffee.
With: Neal Brennan, Dov Davidoff
My thoughts:
This show doesn’t really belong on Showtime–or anywhere else for that matter. The dialogue felt edgy enough, but overall it wasn’t really hilarious. Plus it seemed more like a multi-camera comedy than anything else.

Syfy
Drama (One-hour)
Battlestar Galactica: Blood & Chrome (Michael Taylor)
Logline: The story begins during the 10th year of the Cylon War, and follows recent Academy graduate William Adama. The pilot focuses on an important mission Adama undertakes with a rookie pilot. During this critical mission, which could turn the tide of the war, Adama meets a potential love interest. The series would address a young man’s initiation into war: both the realities of war as fought by soldiers on the ground (and in Battlestars and Vipers), and the somewhat less real version portrayed in the media.
With: Ben Cotton, Luke Pasqualino
My thoughts:
It’s exactly what you’re expecting. An(other) action/military-driven series.
Gone are the philosophical, reflexive, and dare I say smart, plotlines of the mother-ship (no pun intended).
Say hello to combat in space, on planets and on ships, with monsters, aliens, odd creatures, and robots.
And it’s sadly not that interesting.
Obviously, and as always with any BSG-related stories post-season two, you’ve got some retcon thrown into the mix and (very) loose pseudo-mythological components (especially with the introduction of yet another wave of new Cylon designs coming out of Gods know where).
If you’re missing some fresh Human v. Cylon fighting action, then Blood & Chrome will be for you. Otherwise, pop-in any previous Battlestar episode and chances are you’ll be more satisfied. Heck, even Razor will do the trick.

How to get an agent

How to get an agent

The great Jacob Michael has written an excellent article on ways to get a literary agent (among other advice). I sadly can’t link to the original, but here’s what he had to say about how to get agents for TV writers:

Steps to representation:
1) Write a really, really, really, really, really good story that has all the stuff you’d expect a good story to have in the genre and mode in which you want to write.
2) Wash. Repeat.

Now, is it that simple? Yes and no. But until you have that, any advice on how to pursue an agent (actually “pursuing an agent” isn’t exactly accurate) or whether to pursue a manager (which is sort of accurate) will be a waste of space.

So if you want to work in TV, at the bare minimum, you need:
1) An Original Pilot (2 is better)
2) A current spec of a current show

If you want to work in features, you need, at the bare minimum, 2 features in the genre you want to work in (if you want to be a horror writer, do not write a rom-com spec, write horror specs).

And then, if you have short stories or plays or some other fiction you’ve written, especially if it’s won awards of any kind, and most importantly if it’s in the same genre as your scripts, that can help your cause.

It is important to note this—managers and agents like to “define” writers. In other words, if you write in several different genres, they’re going to have a hard time “selling” you and they’ll pass on repping you. But if all your scripts are comedy, they can sell you as “an up and coming comedy writer” (and by-golly, you better be funny…both on the page and in person). Once you’re established as a writer, you can write that indie drama you’ve always wanted to write, or that big action flick…but not now. Or, you can begin your career in the indie film world where the rules are a bit more loose. But if you’re wanting to work in commercial film or in TV, write originals and specs in the genre you want to work in and do not deviate. Sorry. That’s just the way it is. (Yes, there are exceptions. There’re always exceptions. But they’re exceptions and not the standard…keep that in mind.)

Once you have the bare minimum in scripts, it’s time for real feedback. Not the feedback from your family and close friends who are going to rave about it, but the feedback from other writers who will piss and moan because you came up with a better idea than they had and executed it well…and where your script sucks, they’ll point it out.

After your scripts are in tip-top shape, the options are wide open, but the goal is the same: Get read. Your scripts may be better suited for a contest, so go that route. If not, maybe try query letters (they do work…see below). And, you can let people you know and have a relationship with who may know someone what your goal is. See if they’d be willing to read a script of yours and offer feedback. Or do the networking thing and when someone asks to read something of yours, give it to them.

NOTE: Do not go to a networking event and try to hand out your script. Bad idea. Go there to meet people. If they ask what you do, “I’m a writer and I’m looking for representation.” What do you write? “I’ve really been into unicorns and leprechauns ever since I was little because I was horrified by them, so I have some horror specs, one of which placed as a finalist in the Hobokon International Screenplay Competition called LEPRECHAUN ZOMBIES.” Oh, really? I know someone who might want to read that. Can I get a copy? “Of course.”

Now, those conversations won’t always go that quickly and sometimes they take time…but be patient. Be assertive and let people know what you do and your goals, but don’t assume they are the ones to help you. If you are pushy, they run. If they’re a writer, ask to read their stuff. Be more willing to help others than help yourself…it does come back around. Plus it makes you a better writer as you are now forced to critique another script…it’ll help you articulate what isn’t working in your own scripts.

Other options: TV writer programs, diversity programs, and even some internships. There are about a gazillion ways to get your script read…but back to above, if the script ain’t good, the method of your choosing won’t matter.

Also, re: television — TV managers and TV agents are much more willing to read original pilots right now than specs. If they like your pilot, they’ll ask for a spec, but they’ve already read 14,932 specs of HOUSE, so don’t try to send that first.

A note about query letters—production and management companies are rarely going to say “no” to a query that expresses an idea that is interesting to them and fits within their production guidelines. Now, some will, but generally, these companies stay in business because they have the next, best, newest thing. Enter: You. The writer. They need you. They won’t come out and say it like that, but they do. So if you don’t know anyone, do some research on projects similar to your original ideas (TV or film) and send query letters to those companies. If you get all “no” responses, tweak your query. If you get “yes,” send your script. If they end up not liking it, invite them to offer why they didn’t (most won’t say, but a few will). If you need to fix your script. Do it. Then send out another batch of queries.

Re: Agents—They are there to make money. So if you don’t look like an ATM, you’re not going to get much traction with an agent. Typically, agents only sign with writers who have sold or who are about to sell something. There are exceptions, but they’re rare. You might win a contest, which could get their attention. You might know someone with clout who gives it to an agent, which could get their attention. But generally, you have to have “heat” on your script. So if you’re sending it to several production companies and they’re big names and want to read it, feel free to query an agency related to the production company. It does work. Does it work for everyone? No. Like I said, there’s about a bazillion ways in…you just have to find the right one, and honestly, the right way depends on your personality and on the type of script you’re trying to sell.

But it starts with a good script. If you don’t have that, you’re wasting your time.

Hopefully that helps. Happy writing.
– Jacob

TV Writing Fellowships: The Big Six

TV Writing Fellowships: The Big Six

UPDATED FOR 2024

We all know that staffing season is right around the corner, but a great way to learn more about the TV writing industry while simultaneously get a major push in “breaking into it” is by getting selected into one of the main TV writing fellowships (AKA diversity writers program) out there (not just using TV writing contests). It’s also the number one answer when it comes to “how to get into writing for television”. Many TV studios that have writing programs in English provide aspiring writers with valuable opportunities to develop their skills and gain industry experience.

Although several lists of TV fellowships have been posted here and there, I didn’t find an exhaustive one listing both the current application requirements for 2024, as well as the correct submission period (plus other info like eligibility, number of fellows selected, etc.). So here is one.

For future reference, I have also included screenwriting fellowships whose deadlines have already past.
Note that the listed application requirements for the studio writing programs exclude the obvious signed agreements/application forms that must always be completed. In addition, I did not include the physical details of the submission process such as number of copies of scripts required, shipping address, etc. (all of it can be found on the official page of the programs).

CBS Writers Mentoring Program

NEW: Learn all about the CBS Writers Mentoring Program from its supervisor!
CBS Mentoring Program
Application Webpage
The focus of this six month program is on opening doors: providing opportunities to build relationships with network executives and show runners; to support new and emerging writers in their efforts to improve their craft; and to develop the interpersonal skills necessary to break in and succeed.
The Writers Mentoring Program (or CBS Writing Fellowship and CBS Diversity Program) is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and decision-making processes, with the goal of preparing aspiring writers for later employment opportunities in television.
Each participant will be teamed with two different mentors.
One is a show mentor who is a senior-level writer on a current CBS drama or comedy series. This relationship builds over the course of the Program and is focused on helping the participant with creative feedback on their writing as well as help and advice on career goals.
The other is a CBS network or studio executive with whom they will meet on a regular basis, to discuss their work, get creative feedback on their material and get advice and support in furthering their career.
Once a week, participants will be invited to attend a small workshop-style meeting with various CBS show runners and other industry professionals. Speakers include executive producers, agents, managers, development and current executives and others. The purpose of these gatherings is for participants to gain a better understanding of how the business works from many different perspectives as well as creating the opportunity to make critical networking connections.
It’s been found that in order to derive the greatest benefit from the Program, participants should be available to 1) attend a once a week (evening) workshop and 2) attend meetings or observe in various situations for a minimum of five full days (not necessarily in sequence) over the course of the six-month Program.
Number of applicants selected: Up to 10
Submission period: April 1, 2024 – May 1, 2024
Dates of program: October 2024 – April 2025
Eligibility: The primary focus of The CBS Diversity Institute’s Writers Mentoring Program is to provide access and opportunities for talented and motivated diverse writers with a focus on writers of color. Aspiring diverse writers with a strong desire to write for CBS television series are encouraged to apply. You must be 21 or older to be eligible.
Application requirements:
– One half-hour or hour spec script based on a primetime network, cable or online series that aired new episodes during the 2023-2024 season
– One original work of writing (original pilot, screenplay, stage play, short fiction story). The original sample should be similar in tone to the spec sample.
– Current resume or short biographical summary
– Letter of interest
Cost: Free

Walt Disney Entertainment Writing Program (FKA Disney Television Writing Program and Disney/ABC TV Writing Program)

NEW: Learn all about the Disney ABC Writing Program from its supervisor!
ABC Writing Program
Application Webpage
The Walt Disney Entertainment Writing Program (formerly known as the Disney Television Writing Program, and informally known as the Disney writing fellowship or Disney ABC TV Writing Program) is designed to expose aspiring writers to key executives, producers and literary representatives – all essential in the pursuit of a writing career. Additionally, while in the program, writers have the opportunity to work one-on-one with a current programming or development executive to create spec scripts of series from the current broadcast season. The ultimate goal of the ABC Writing Fellowship is to prepare and nurture the writers for a professional writing career.
Number of applicants selected: Up to 8
Submission period: May 1, 2024 – June 3, 2024 (11:59 PM PST deadline)
Dates of program: January 2025 – January 2026
Eligibility: Applicants must be at least 18 years old and have US employment eligibility. Prior professional work experience in the entertainment industry is recommended. Post college experience preferred. Although one completed script is required for consideration, the ideal candidates should have a body of work consisting of no less than two spec scripts and at least one original sample. If candidate advances to final stages of interview process, the review of additional scripts and referrals from working entertainment industry professionals will be required.
Application requirements:
– Two original pilot scripts that capture the writer’s unique tone, style and point of view. They must be live-action content; animation samples of any form are not accepted. The samples should also tonally translate to the type of programming broadcast on WDT.
– Current resume
– An autobiographical summary
– An essay reflecting “the applicant’s unique life experiences and personal stories which will demonstrate the writer’s ability to make distinct contributions to a writers’ room.”
– (optional) Letters of recommendation from entertainment industry professionals. The letters must be written on your behalf by working entertainment industry professionals who can discuss your potential as a professional television staff writer.
Cost: Free

FOX Writers Lab

NOTE: It is still TBD if the Fox Writers Lab will have a 2024 edition.
Fox Writers Lab
Application Webpage
Writers selected for the FOX Writers Lab (FKA FOX Diversity Writer’s Initiative) will receive feedback and guidance on their scripts through interactive “master classes” and will engage in guest speaker sessions with experienced writers, showrunners and directors. Upon successful completion of the program, participants will receive priority staffing meetings for the established Fox Writers Lab Staff Writer position on Fox entertainment productions.
Number of applicants selected: Up to 8
Submission period: Strong possibility that there isn’t a 2024 edition of the Fox Writers Lab.
Eligibility: FWL is for emerging writers and/or previously staffed, produced, or published writers who have a strong command of their craft and who are deeply committed to pursuing or sustaining a professional writing career. Writers who have had pilots produced are not eligible to apply.
Application requirements:
– One original thirty-minute or one-hour comedy or drama pilot television script
– Three original loglines for additional projects
– Two letters of recommendation
– Personal statement
– Current resume
Cost: Free

NBC TV Writers Program (FKA NBC/Universal Writers on the Verge)

NEW: Learn all about the NBC Writers on the Verge program from its director!
Writers on the Verge
Application Webpage
The NBC Launch TV Writers Program (formerly known as NBC Writers on the Verge, or informally known as NBC Writers Program, NBC Writing Fellowship, NBC Fellowship Program) is a 12-week program focused on polishing writers and readying them for a staff writer position on a television series. The program will consist of two night classes, which will be held on Tuesdays and Thursdays (7-10pm), weekly at NBC in Universal City, CA. Once accepted, students must attend all classes and turn in all written assignments.
Classes concentrate on creating an exceptional spec script and understanding the dynamics of pitching oneself in the television industry. Writers are given the chance to interact with industry players ranging from network executives to showrunners to agents and receive valuable feedback on their work and pitch style. The NBC TV Writers Program is a prestigious initiative that provides aspiring writers with invaluable opportunities to learn and grow in the field.
Number of applicants selected: Up to 8
Submission period: May 1, 2024 – May 31, 2024 (11:59 PM PST deadline)
Dates of program: Late September 2024 – Mid-January 2025
Eligibility: Anybody can apply to the NBC Writers Fellowship. The program is especially looking for writers who are “almost there” but need that final bit of preparation with their writing and personal presentation skills. They particularly encourage writers of diverse backgrounds to apply.
Application requirements:
– One half-hour or hour spec script based on a primetime network, cable or online series that aired new episodes during the 2023-2024 season (on their accepted show list)
– Two short essay questions (provided when application goes live)
– Current resume
Cost: Free

Nickelodeon Writing Fellowship AKA Nickelodeon Writing Program

Nick Fellowship
Application Webpage
Operating in a three-phased structure, the Nick Fellowship provides a salaried position for up to one year and offers hands-on experience writing spec scripts and pitching story ideas in both live action and animation television.
This three-phased structure allows fellows an opportunity to nurture relationships with creators, network executives, line producers, head writers, showrunners and story editors.
As part of their script writing, each fellow will be assigned to an Executive in Charge of Production and have an opportunity to write a spec script for an on-air Nickelodeon show.
In addition, all fellows are integrated into the activities of both the development and production departments. This allows the fellows an opportunity to attend storyboard pitches, notes meetings, records, table reads, show pitches and show tapings, all while being exposed to top creators and key production crews. It’s one of the fellowships for writers with strong on-hand access to the production process (so more than just one of those TV writing workshops).
There are two creative avenues to pursue: the General Track (12-months) and the Preschool Track (6-months). The Preschool Track was created to develop writers specifically interested in writing and/or creating shows for the preschool demographic.
Number of applicants selected: Up to 4
Submission period: January 2, 2024 – January 31, 2024 (11:59PM PST deadline)
Dates of program: October 2024 – October 2025
Eligibility: Applicants must be at least 18 years old and have US employment eligibility.
Application requirements:
– One half-hour comedic spec script based on a primetime network, cable or online live-action or animation series that aired new episodes during the 2023-2024 season (the accepted show list for each track is listed on their website)
– Current resume
– Short biography (500 words or less)
– Two essay questions (each 75 words or less)
Cost: Free

WB Writers’ Workshop

NEW: Learn all about the Warner Bros. Writers’ Workshop from its director!
WB Writers Workshop
Application Webpage
The Warner Bros. Television Writers’ Workshop (or WB Writing Fellowship) consists of three components, all geared towards preparing the writer for a successful career in television writing.
Lectures: Weekly lectures feature guest speakers currently working in television and include a mix of showrunners, directors, actors and agents. Each seminar will teach a new skill essential for surviving and excelling in a writers’ room as a staff writer and beyond.
Simulated Writers’ Room: After the lectures, the Workshop participants are divided into smaller groups for an intensive writing experience. Each participant will be required to complete a new spec script under the same deadlines found on a show currently in production. How participants perform during this exercise will determine whether they will be chosen for a possible staffing position on a Warner Bros. show.
Staffing: Upon completion of the program, Studio executives will help participants, who pass the Writers’ Room, obtain a staff position on a Warner Bros. television show currently in production. We can’t guarantee you will get staffed, but we will get your material in front of the people who make the ultimate decisions – the showrunners.
Number of applicants selected: Up to 10
Submission period: May 1, 2024 – May 31, 2024 (11:59 PM PST deadline)
Dates of program: October 2024 – March 2025
Eligibility: Applicants must have US employment eligibility.
Application requirements:
– One half-hour or hour spec script based on a primetime network, cable or online series that aired new episodes during the 2023-2024 season. (The specced TV show must be listed on their official website.) Applicants may submit up to two specs.
– Current resume
– A one-page composition telling “why you want to be a television writer and how your background will add a unique perspective to television”
Cost: Free