Lost begins on an island directly following a plane crash. These are all turning points that move the story and the characters forward. Friends begins on the day Rachel runs out of her own wedding and reconnects with an old friend. Transparent begins when a father decides to tell his children he identifies as transgender. Start by thinking “Why does your show begin today?” If it could begin any other day, perhaps you need to make stronger choices. You need to find a storyline that introduces your entire show.
Now you can move on to writing a short, one-page synopsis – your pilot’s beginning, middle and end. Set up your world and characters, introduce conflict, complication and provide a resolution (though not too resolved… you want people coming back next week to see what happens).ĭeciding what story you want to tell in your pilot can be tough.
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It will help you build the skeleton of your show (but feel free to move some bones around if needed and showcase your own unique style). It’s important to distinguish the kind of show you are writing. Whether you are writing a multiple-camera comedy or a single-camera comedy makes a big difference. A procedural drama and an episodic drama are two different animals. Reading scripts for shows with a similar format can be a great help in narrowing your focus. See how many acts are in each episode, if any, whether they have a teaser, a tag at the end, or an average number of pages. Do your research and know your format. Boiling it down helps you focus on what is important for us to know, and hopefully hooks us into wanting to find out more. You can always look up loglines for similar shows for inspiration. What now?Ī great method for working on your pilot is to start small and expand from there. So begin with your logline – the story of your pilot in one sentence, the “who, what, where” of your show. So you’ve got an interesting idea for a pilot and rich, complex characters.
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