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I've been the Head of Drama at a studio, have sold 74 TV shows to networks and streamers, 15 films, staffed 32 seasons of television, and have gotten 7 shows on the air from development to production. Check out my services and contact me today!
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As a reminder, when you get script notes from me, it's not from an intern, a junior analyst, or someone who’s “breaking into” the industry. With me, you’re working with someone who’s lived and breathed development for over two decades.

It feels like there are only five places to sell a show, where in 2017 I would sometimes take a pitch to 13 places.

Production really hasn’t recovered since COVID sadly, but yes, most streamers started carying more about profitability than subscribers, which means less shows. The real tragedy is that the pivot made the scripted cable business go away or become more niche.

Sadly my Adolescence in comedy joke was ruined by it being a limited series, although I am sure many will still attempt the joke! I am kind of excited for realish movies to finally compete in TV movie category, only cause I loved Rebel Ridge, although Netflix still wonky on what is eligible.

Any new category fraud happening this year?! I feel like no and it will just be a normal year of mostly the same shows, a few new comedy noms, and White Lotus taking up 90 percent of supporting noms, being happy for Walt Goggins winning and pretending it’s for Gemstones, The Shield or Justified.

So it’s usually best to see if there is interest in development for a new pilot before it is used for staffing. But I get it, sometimes you just need a staffing sample or its perfect to get a job for your dream show. A good rep will find a work around.

Personally, I think every pilot you write you should write to sell, cause why not! But it can be hard to balance. Producers usually don’t want to develop something that has been exposed to networks or studios for staffing.

Know what type of projects have been selling, know what’s been working, make sure your show doesn’t exist. You can have mandates in mind you have heard from reps and producers, but usually those mandates fill up quickly or change without notice.

A pilot for a show you want to sell is different. It has to be a great script, but also have the bones for a series. Have a few buyers in mind that you think the script is a good fit for before you start writing. Study the marketplace. Ideally it is a series that has multiple networks to take it to.

The good thing is that a staffing sample can be used for years. I still recommend changing every few years, but last show I staffed a few writers who it was obvious the sample was 5 or 6 years old.

Be bold, memorable, take chances, but also adhere to the genre templates. And don't forget great characters. Logline still matters, because most of the time that is what draws the reader from choosing to read yours from a long list, unless you have been recommended by someone whose taste they trust.

A great staffing sample needs to accomplish a lot. It should be ideally for the genre of show you want to staff on. It needs to stand out from hundreds of submissions that the producers, studio, and network execs, showrunners are reading.

Such an unexpected and brilliant show. I really hope streamers and networks take lessons from its success. Honestly, reminded me of yours shows, taking familiar genres and innovating them in ways that feel fresh and exciting.

Let me know your thoughts and any ideas for other script to screen comparisons. It's always fascinating to see how much scripts change, even after a series is greenlit.
#ZeroDay #Netfix #Scriptsky #Screenwriting #writingsky