By Jasmine Burger, Coordinator, Television at JWP
THE DEVELOPMENT PROCESS
Ninety-nine percent of television shows, whether they were original ideas or spec scripts that you’ve written and sold to a producing entity (producing pod, Network or Studio), will go through some version of the development process. As writers we often spend more time in development than we ever spend in production, so we thought it might be useful to outline some of the basics of the development process in hopes of making development a more transparent process.
There are two related parts to development. The first is the development process you participate in with the seller (producing pod, outside financing entity and/or Studio). The second is the development process you engage in once you and your seller partner have secured a buyer (Network or Streamer). JWP is a producing pod and so this section will outline the development process we use as an active seller-partner of your script or idea.
WHAT IS DEVELOPMENT?
Development is one of the foundations of the television industry, yet the process can seem mysterious and is often misunderstood. Every production company, studio, network, etc. has their own unique process of development, but we will use how we approach development at John Wells Productions as an example. We believe our process is similar to what is used in most development.
Development is the process of finding material to serve as a blueprint for a TV pilot, series, or feature film. At JWP we are regularly reading and evaluating books, articles, podcasts, and hearing pitches from creators (usually writers, but also actors, directors, etc.). The bulk of any development group’s time is spent on discovering these “materials,” which can include the underlying idea, scripts, series documents, pitches, etc. While not guaranteed, development can also include the production of a pilot episode, which is essentially used as a proof-of-concept to aid in getting aFirst and foremost, it is important to understand that while it may seem as if development executives are constantly looking to find a way to say “no” – nothing could be farther from the truth. Every pitch meeting, every book we crack open, podcast we begin, our development executives are desperately hoping they can say YES! Development executives are optimists, anxious to hear a new idea or be excited by what they’ve read. Development executives want to make television shows! That’s our job.
As we go through the below, remember that EVERY PROJECT IS DIFFERENT! There are many, many exceptions to the “rules” laid out in the following sections. I will try to touch on some of these exceptions but the best way to understand the process of development is to do it and trust that you have a great support system of producers and executives to guide you along the way.
WHEN STARTING WITH A WRITTEN SCRIPT
If there are any notes that we want to give you on the spec script, this is a great time to go through them. We also take detailed notes at the meeting and send those notes to you to make sure that you agree with what we’ve discussed. This is true for notes on the spec script and any future notes that come up as we move through development. Many writers like to take their own notes in these meetings and comparing the notes we’ve taken to the ones you’ve taken is an excellent way to make certain we’re all on the same page with the notes.
During the kick-off, we also discuss whether we think that the project would benefit from having another creative auspice attached (director, actors) before we take the script out to buyers.
Since we have a script already in this scenario, the next thing we work on is preparing the sales pitch. At JWP, we typically do a few practice pitches before taking the project out to buyers. Usually there is one pitch with just the TV team and then a second pitch with our producing partners at Warner Bros. These are great opportunities to get feedback on your pitch before beginning to meet with buyers. Think of these pitches as your out-of-town tryouts before heading to Broadway. In the new world of digital pitching, attention spans are smaller than ever so the sweet spot we aim for in a pitch is 20-25 minutes. If a buyer has set aside 30 minutes to hear your pitch, you want to be able to do your pitch and still leave time for questions after.
Every producing company has their own template of pitching to buyers, but for our projects, we use the template below. This isn’t prescriptive but you want your pitch to be clear, concise, and intriguing enough to leave the buyer wanting to know more.
JWP Pitching Template:
What is the show?
Introduce the show with an enhanced logline. Try to speak to the “why” of the project–why this project? Why now? Personally, why are you compelled to tell this story and what makes you the best person to tell it?
Where & When
You want to set the scene – where is this taking place? When? Against the backdrop of...?
Tone & Visual Style
If a director is attached, they speak to this in this part of the pitch. Visually, what will your show look like? Feel free to reference other tonal comps, music, artists, etc., that will inspire the series, but also what will make yours stand apart.
Characters
Discuss the major characters we will be following. You don’t need to mention every character in your pilot but try to narrow in on the primary relationships of the series.
Pilot Breakdown
Before you go out to buyers, you’ll discuss with your producing partners whether or not you’re sending the pilot script ahead of time or if you will be leaving it as a leave behind after the pitch. Each project requires a different strategy, but in either case, you want to keep this section brief. Typically 3-5 sentences.
If you’re sending the pilot ahead of time, use this section in your pitch as a quick refresher of the pilot.
If they’re getting the pilot as a leave behind, use this section to set up the pilot and the main storylines. It should not be too in depth but give enough information to launch you into the series breakdown.
Season One
What is the character arc for our main character(s)? What are the major story engines for the season that will give us room to explore our other characters? Is there a major theme of the season that can be summarized?
Future Seasons
Whether you’re pitching an ongoing series or a limited series, this is a great place to add in a couple of sentences to demonstrate that you have a vision of where your series could go in success. You do not need to get granular, but you need to show that you have given it some thought. And if you’re pitching a limited, you may want to add in a note that while you’ve built it as such, there could be room for a discussion on expanding the series in success.
Wrap Up
Time to bring it home and open it up to questions!
We like to incorporate visual elements with your pitch in the form of a pitch deck. It’s a great opportunity to not only show the buyer what you envision the show to look and feel like, but also provides an opportunity to discuss potential casting. We develop these pitch decks internally with our writers. They incorporate photos, music, sometimes even “sizzle reels” of images to help the buyer understand the tone you’re going for.
During the kick-off, you will also want to discuss the timing of everything from when to expect to turn in a draft incorporating any notes to when you want to be out pitching to buyers. It’s important to remember that the market is constantly changing and so you have to be ready to change with it. The dates we decide upon in the kick-off meeting are rough estimates and your producing partners will always try to do what’s best for your project. For example, if it’s particularly tough getting sales in the marketplace on the date you discussed wanting to start pitching to buyers your producers may want to adjust the timeline.
STARTING WITH IP/PITCH
In some instances, a writer may come to us with nothing more than a logline or a general world they wish to explore. This is typically the case in blind script deals. A blind script deal is entered into when a writer and production company (us) decide to enter a development relationship without a specific idea or story area yet decided. These deals are closed before we’ve identified the project but with the intent to find something to do together. Once the blind script deal is closed, we usually do a kick-off of sorts in which we discuss possible ideas and look to settle on an idea or ideas to explore further. Depending on the terms of the deal and how the writer likes to work, we’ll start with a story area or outline, soft beat sheet, etc. before the writer begins writing a pilot script. During this period the writer is receiving notes from the team at JWP and from our studio partners at WB. From there, we typically follow the same process as when we’ve started with a spec script, working on the pitch, discussing packaging, and then taking it out to buyers.
We do regularly take pitches out to the marketplace without a written script when we have a particularly strong IP, such as a best-selling book paired with a writer and/or director with a clear vision and a strong take on how to adapt the IP. This can be a strong selling point for the buyer because it allows them to get in on the ground floor developing the script.
In summation, the above scenarios have their own set of advantages and disadvantages. EVERY. PROJECT. IS. DIFFERENT. Development is a collaborative process and having strong communication between you and your producing partners is essential. Don’t be afraid to reach out regularly to your producing partners. Writers often worry that every call will end in the hated question, “So when do you think we’ll see a script?” Every call may but staying in touch throughout the process is worth it.
PACKAGING
Since every project is different, that means every “package” is different. Sometimes having an experienced and accomplished writer with a seasoned producing partner is enough. But in other instances, you may need to pair a more seasoned showrunner with a less experienced writer or add a director to the package to speak to the specific tone of a project. You may need to attach a well-known actor in a lead role who can “move the needle” for the buyer. Sometimes you may want to do all the above! Finding the right combination of individuals who share in your creative vision only makes for a better show.
If you’ve decided that you want to try and attach a director to your project before taking it out to buyers, you’ll want to work with your producing partners to create a list of possible director candidates to approach. Sometimes it’s a few names, sometimes it’s twenty. Don’t be afraid to pitch a name that may feel out of reach but who you think would actually “get” the material. As the creator, you are the dreamer. It’s up to us, your creative producers, to bring you back down to earth. Trying to attach a director can be a slow process. Depending on who you want to approach, sometimes the limited availability of those directors can slow you down. It’s not the end of the world, especially if you think adding a specific director will add undeniable value to your project but be prepared to be patient.
The same scenario goes for wanting to package with actors. If you feel like the lead role or one of the lead roles in your project lends itself to attracting “name” talent, it’s worth a conversation to see if that’s a route you want to take. Much like creating a director’s list, it’s helpful to have one for actors. Not only for the purposes of potentially going out to actors to see anyone wants to participate, but this list is also useful in creating your pitch and will often come up in conversations with buyers.
Trying to attach actors comes with its own set of obstacles. Actors are often very slow to respond. It doesn’t hurt to take big swings and see what actors are available and open to reading your work. Between you and your team, you’ll figure out if anyone is worth the wait.
Actors will often want to know who will be directing. If you’ve not already attached a director, they might not want to engage until a director has come on board. On the flipside, some actors don’t mind not having a director attached. It can be helpful to know who they’ve enjoyed working with in the past and who they think might respond to your material. A director might also be eager for the chance to work with a certain actor so having an actor on board can open doors for packaging other creative elements.
PILOT ORDER / MINI-ROOMS / STRAIGHT-TO-SERIES
In an earlier era, when broadcast TV was the only game in town, shows went through a very predictable process: development to a pilot to a series order. With the rise of streamers, this model has changed. Series with orders of 6, 8, or 10 episodes per season are more common in the SVOD (streaming) world compared to the traditional order of 22 or 24 for broadcast and cable in the past. Some networks, including streamers, are still committed to making pilots rather than going straight to series. Buyers want to make sure that you can deliver what you’re selling.
But in most cases once you’ve sold your script to a network or streamer, you’ll be asked to provide written materials to the buyer so they have a strong sense of what the series would be. These materials can be brief story outlines for the episodes to come, they can be orders for one or two more scripts, they can be a show “bible” giving an overview of the episodes you hope to make (and it must be noted, all of these are covered WGA work for which you need to be paid – discuss the requests for additional material with your agent). These materials are likely going to be requested before your pilot is picked up to series or even before your script is ordered as a pilot.
Another model gaining traction among buyers is opening mini writers’ rooms. This can be before a show is ordered to pilot, or before a pilot is ordered to series. Mini-rooms are routinely requested when no pilot is going to be made and your show would be picked up straight to series – but it’s not being picked up straight to series until the buyer has seen scripts and outlines from the mini-room. A mini-room typically consists of the creator/showrunner and a small group of writers writing multiple scripts for your show’s potential first season.
For the buyer, there is a risk in a straight-to-series order, but it can also provide distinct advantages, like attracting big name creators and stars with a guaranteed number of (paid) episodes.
Before a series order comes in, you need to create (with your producing partner) a writers’ schedule, a production schedule, and started compiling a list of writers for potentialOPENING A WRITER’S ROOM
The makeup, structure, positions, and responsibilities of a writer’s room can differ from show to show. As creator/showrunner, you and your producing partner will discuss what your writer needs will be and what the budget affords. With your creative development partners, you work to put together an Open Writing Assignment email (OWAs) to go out to agents and managers. OWAs let people know what you’re looking for in terms of project and experience levels in the room. For example, a typical OWA for your project may be for “an upper-level diverse teen-drama writer.” You can be as vague or as specific as you want to be in your OWAs but be prepared to open the flood gates. There are typically quite a few submissions to sift through but with the help of your creative development partners, you can narrow the group down to a select group of candidates for you to read so you aren’t inundated with material. Most writers have other writers they’ve worked with before they’d like to try and hire. These offers are then made directly with the input of your network, studio, and creative development partner.
Given that your OWAs will likely generate dozens of submissions for each position, making certain that your tastes and your creative development partners’ tastes are aligned will make this process proceed smoothly. You won’t have time to read all the submissions, you need your creative development partner to assist you towards finding a group of appropriate writers to read and meet.
As the creator/showrunner, you will then meet with the writers whose work you’ve responded positively to. Once you’ve met someone you’ve decided you want to work with, their materials are sent to the studio and network for approval. Once approved, deals are made, and you begin work.
Writers’ rooms come in all different shapes and sizes, but I’ve included the general description of each credit level and some of what to expect for each role below.
Creator/Showrunner
This is YOUR show. You’re not only responsible for the scripts and vision, but also for staffing, budgeting, casting, editing, etc. This role typically receives an Executive Producer or Co-Executive credit.
Upper-Levels: EPs, Co-EPs, and Supervising Producers
EP/Co-Ep: This credit includes the Creator/Showrunner but also the writer who is typically referred to as the #2 writer. As the #2 in the room, you are the Showrunner’s right hand, responsible for ensuring that their creative vision for the show is actualized on the page.
Supervising Producer: Typically viewed as “third writer in command.” If you’re still writing in the room as production has started, this person steps up to run the room if the showrunner and/or Co-EP is busy elsewhere.
Mid-Levels: Producers, Story Editors, Executive Story Editor, Story Consultant
At this level, the writer assists in developing stories, writing scripts, and participating in the writers’ room. Effective showrunners make sure this group also gets to participate in casting, production and editing on the writer’s episodes.
Entry-Levels: Staff Writer
As a staff writer, it may not come with a guaranteed script, but you’re in the room brainstorming, breaking story, and contributing to all aspects of the series’ story and character development.
Administrative: Room Assistants and PAs
Writer’s PA: May not be in the room everyday but you help to manage the basic needs of the room. Sometimes this role is conflated with the Writer’s Assistant role if the room is not budgeted for both.
Showrunner’s/Writer’s Assistant: In the room day to day taking detailed notes along with many other responsibilities. See the section on how to be a great Writer’s Assistant!
Script Coordinator: Depending on preference, this person is not always in the room and can oftentimes be hired closer to production rather than at the beginning of the room. This person manages each draft of the script from writer’s draft to final shooting draft– proofreading, formatting, managing and adding revised pages as they come in, etc.