How to Write a TV Series Pitch Bible
How to
Write a TV Series Pitch Bible
We all know what a script should look
like but what about your tv series pitch bible? There is a lot of confusion
around the myriad of supporting materials you might also be expected to write.
Treatments, pitches, outlines and show bibles are terms bandied around which
can be used to mean different things.
If you’re ever commissioned by a
producer to write a supporting document, eg treatment, series pitch, always ask
them what they expect.
What is a tv series pitch bible?
A series bible for an existing show is
a comprehensive, detailed guide to the show which evolves and grows with it.
Your tv series pitch bible is not that.
Whether it’s called a series bible,
series pitch or series treatment, if you’re writing it on spec in order to get
interest in your show, your document is designed above all else to sell your vision
of the show.
The job of your series treatment is to
excite the reader about your idea by pitching the essence of what it is. It
must demonstrate that you know what you’re doing, not just in the pilot episode
but across the whole first season and beyond.
It needs to answer the producer’s fears
about whether the project is worth the investment. Does the idea have ‘legs’?
Is there a clear story engine that will generate twenty, forty or sixty-plus
hours of drama?
What should you include?
Series title: give it a
working title (w.t) even if you think you may want to change it later.
Written by: your name –
obvious, I know, but you’d be amazed how many supporting documents omit this!
Contact details: yours or your
agent’s.
Format: eg 6 x 60’
serialised drama or 8 x 60’ episodic police procedural or 6 x 30’ sit-com.
Genre: eg supernatural
horror
Series logline: a very short
paragraph summary of the series concept which conveys the essence of your show.
One-page pitch: your first page
should be able to stand alone to pitch your show. Think of it as an extended
logline. It summarises, in four or five paragraphs, all the key elements that
will make your show compelling.
Character biographies: a short paragraph
biography for each of the main characters. Try to hone in on the essence of
their personality and how they are in conflict with themselves (flaws), the
world they find themselves in and the people around them (other characters).
Episode synopses: a one-paragraph
synopsis for each episode of the first series.
If your show is a serialised story (one
story arching over the whole series or more, eg Breaking Bad) these
episode synopses must show how the story progresses through the series, with
clear turning points and episode hooks.
If your show is episodic (each episode
has a self-contained story, eg NCIS), these synopses should give a
flavour of the kind of stories that would work for your series as well as
indicate any major turning points for your regular characters if you envisage
series arcs for them.
Season two and beyond: what is your
vision for the longer-term direction of the show? This isn’t a detailed
breakdown of future episodes but rather a one or two paragraph summary of the
main thrust of the show beyond series one.
Theme: what is the
show really about and why do you want to write it?
Story world: what is the
precinct of your show? Is it a busy city centre hospital, a deprived rural
village, the wealthy elite of the French Riviera?
Tone and style: Gritty or
quirky? Dark and naturalistic or bright, vibrant and heart-warming?
How long should it be?
Like most pitching documents the rule
of thumb is, the shorter the better. Keep it succinct.
For the C21/Script
Angel Drama Series Script Competition we ask for a series pitch
document of 1-3 pages.
You might be commissioned to write a
more extensive series treatment later on but for now, if you’re writing on spec
and it can be any length, we’d recommend no more than five pages total.
How do you make it compelling?
Writing a compelling prose description
of your series might not come easily to you. If that’s you, the good news is
that you’re not alone. The bad news is that this is a skill you’re going to
have to get good at if you want to get your original series commissioned.
Just like your screenwriting skills,
pitch-writing skills can be learnt and you’ll get better at it you more you
practice. Treat writing the series pitch with the same care and attention you
did your pilot script. You’re a wordsmith after all, and just as with your
script, every word on the page should be carefully chosen to carry as much
weight as possible.
Remember also that the tone and style
of your prose in the series bible should match that of your show. If your show
is light, warm and funny, make sure the series bible reads that way too.
The series pitch bible is your chance
to hook us and make us want to read your pilot script and ultimately commission
your show.
Write it, then rewrite it, and keep
rewriting it until you’ve made it as good as it can be.
Read examples
Unlike scripts, very few show bibles
are available online, and those that are very often resemble the more
substantial detailed treatment than the pitch document you need to write. Here
are some examples we’ve found:
They might all be a bit more wordy than
the short version you need to craft, but they all give a strong sense of the
tone, style, story structure and flawed characters that will make their show
unique.
Let us know in the comments below if
you’ve found some great series bible examples.
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