1000 Pilots
I've helped 1000 people write their TV pilots. Here are 3 big things I've noticed.
I’ve helped around 1000 people write their pilots.
I started running Write Your Pilot! in 2017. I’ll be honest, my records during the early months of COVID aren’t the most organized (there was a lot going on...) so I don’t have an exact number, but the tally at this point is hovering right around 1000.
1000 people who came in with an idea, wrote a pitch document, worked through the outlining and story-breaking process, and left class with a working first draft and notes on revision.
Some of them were professional writers who have won Emmy and Peabody awards. Some of them were sketch writers, improvisors, playwrights, MFA students, clowns, or stand-up comedians.
Some of them were just people who wanted to try out screenwriting.
I’d like to start writing about the experience of helping people develop their ideas so, overcoming my own imposter syndrome, that’s what I’m doing here. I’ll get into more specific essays and thoughts in future posts. For today, I’d like to start with 3 Things I’ve Noticed After 1000 Pilots.
Your Voice Is Original, Your Premise Doesn’t Have To Be
In 1000 pilots, I’ve read many repeat premises.
One class of mine had three separate writers all developing variations of “My Roommate Is A Demon” shows. Another class, I helped a friend develop her pilot and her title and premise were the exact same as the title and premise of a pilot I had written a few years before. Both were half-hour hang out sitcoms about trivia teams called Trivia Night (Hi Jess!). We exchanged scripts and despite their titles, we had written two totally different shows. Everyone could write their own Trivia Night pilot and they would all come out different. Let’s call it the Trivia Night challenge, why not?
What dictates a good script isn’t the novelty of the writer’s premise but the specificity of the writer’s voice. How many shows are on TV right now that are about a unique individual solving mysteries? How many shows are about rich families with problems? How many shows are about finding a magic mushroom that cures all diseases and then being hunted by an evil pharmaceutical company? JK, shout-out Common Side Effects.
In all of those repeat premises, the scripts that approach their subject matter with specificity read well and the ones that lack a specific voice read broad. Which brings me to the next big thing I’ve noticed after 1000 pilots...
Stop Thinking Of Scripts As Being Good Or Bad
Probably the most common question I get asked is “Have you read any scripts lately that are really great or really terrible?”
If I’ve read a great script, I’ll talk about a joke that made me laugh or an idea that I haven’t stopped thinking about. If I’ve read a bad script, I’ll talk about a joke that made me laugh or an idea that I haven’t stopped thinking about. Both scripts have the same potential because it doesn’t matter how good this draft is, what matters is how long you’re willing stick with this idea.
I’ve seen bad scripts become great scripts because the writer takes notes, they re-outline, they kill their darlings and replace them with elements that serve the show, they table read the script, they write other scripts and come back to this idea and apply what they’ve learned. As they rewrite, the script becomes simpler and bolder. Similarly, I’ve seen good first drafts stay just okay scripts because the writer let it languish instead of reworking and polishing.
Which brings me to my final (for today) big thing I’ve noticed after 1000 pilots...
”Every Script Needs A Friend”
I heard this on Mike Birbiglia’s podcast from Judd Apatow who was quoting James Brooks who was quoting Mike Nichols who said it while...honestly, who cares. The point is valid no matter who said it.
I’m always shocked at how quickly people are willing to tell a writer that their idea won’t work.
“That’ll never sell...”
“You can’t have a character who...”
“People aren’t interested in stories about...”
Writers don’t need help believing their writing is bad.
An imperfect script is better than a perfect idea that only lives in your head. Every script needs a friend and that starts with giving yourself permission to create the show that you’re excited about. After helping 1000 people write their pilots, what excites me the most is when a writer sees the world that was in their head reflected on the page.
As mentioned, I’d like to write more of these and have some fun stuff planned.
If there’s anything you’d like me to write about or questions you have, leave a comment!
If you want help Writing Your Pilot! or Writing Your Feature!, also reach out.
I’d love to find a way to work together.