The Complete Guide To The TV Development Process – Part 1

This is the first part in a four article series about the entire TV development process. I have taught courses about the subject and have been through network development 74 times in my career. One of my consulting services mimics this process. I would love to help you get your pilot or screenplay in the best shape possible. Please contact me if interested. 

As someone who has worked in TV and film development for nearly two decades, I’ve seen it all. 

I’ve had a project start as a one-sentence idea in an email go into production just six months later (I swear that’s true), and I’ve also seen a project that spent over a decade in development finally get made—only to be dumped by the distributor with little fanfare, almost as if it never existed. 

I’ve worked on TV shows that the network was convinced would be a huge hit, only for it to barely find an audience. And I’ve been part of multiple shows where the original network we sold it to passed, leading everyone involved to believe the project was dead—only for it to find new life at another platform and become one of the most-watched shows in the world.

The one consistent thing I’ve learned? Every single development process is completely different. 

Sure, the steps along the way were mostly the same, but with so many different people, personalities, and opinions—so many opinions—not to mention the fact that every network operates a little differently, no two development cycles are ever alike. 

No matter how many times I’ve been through the process, there are always dozens of surprises along the way.

I’ve found that writers who haven’t developed with a studio or network before usually don’t know what to expect until they experience it firsthand. It’s not something that’s taught in school, and even agents and managers aren’t always aware of all the nuances involved or have sat through hundreds of notes calls with studios and networks, trying to decipher their feedback.

So, I thought it would be helpful to walk you through the typical TV development process—step by step—so you can see how a script goes from pitch or spec to a fully produced series.

Step 1:

FIND YOURSELF A PRODUCER

The first step in creating a show is obviously coming up with a viable television show idea and fleshing it out. But usually the first step in the development process is finding a producer.

It’s important that your idea isn’t just strong enough for a great pilot or script, but that it has the legs to sustain multiple seasons—or at the very least, a compelling limited series.

The development process isn’t drastically different whether you start with a script or a pitch, but I’ll begin with the script process, since I assume this article will be most beneficial to new writers who haven’t been through development before. 

Most likely, their introduction to development will be through writing a spec pilot. I should mention that selling a television pitch as a new writer—with little or no experience in a writers’ room or development—is one of the hardest things to do in the industry. I’ve only done it twice, and in both cases, I paired the new writer with a showrunner before taking it out.

Selling a spec pilot as a new writer – with little or no experience – is very difficult as well, but I have seen it happen more frequently than selling a pitch.

Once you have a finished pilot that you and your reps are happy with, it’s time to strategize and compile a list of production companies to submit your script to. 

Producers and development executives are essential to the project—they’ll be your partners at every step in the project’s life cycle. 

They’re the ones who walk you through the process, act as your biggest cheerleaders, fight for your project, talk you off the ledge when you’re frustrated, read every draft first, and help put all the pieces together—especially as you get closer to production.

If you don’t have reps you can always try to query a production company and see if someone will read your script, but I have never put a project in development that I found through a query letter. (Although I have read a handful over the years in which the logline in the email intrigued me.)

Your agent and manager will target production companies that specialize in the type of project you’ve written or producers they know are looking for that genre of material. There are many different types of producers – some producers focus on sci-fi, prestige series, others on comedy, some primarily develop broadcast shows, and then there are the giant companies that do a little bit of everything. There are also many showrunner-run pods who sometime seek up-and-coming writers to mentor—this can be a strategic way to get a showrunner involved early on.

Once the list of producers is finalized, your rep will start making calls to submit your script. Some reps prefer to send out a small batch of submissions first to test the marketplace and gather feedback, while others like to go wide, maximizing the number of reads and hoping to generate as much interest as possible. Reps typically prioritize production companies with deals at studios or platforms (I’ll go into more detail on that later).

These calls are usually quick and straightforward. When I worked at highly prolific companies with large slates, I would get around 5–10 of these calls a week. A rep would call, give some background on the writer, pitch the logline, and ask if they could send the script over. 

I’ve always been an easy target—maybe it’s my anxiety about missing out on a potentially great project—but 9 times out of 10, I’ll tell them to send it. I only say no if I have a very similar project already in development or if the logline was so bad or outside my wheelhouse that I knew it would be a waste of time.

My philosophy has always been that there’s no harm in reading something. Worst case, I spend 15–20 minutes reading the first few pages and realize it’s not for me. Sometimes for the ones that are very low priority, I’ll have my assistant read it first and let them decide if I should take a look.

Every executive and producer is different, but I try to read a new spec within the first week or two of being submitted it. Managing your reading load is one of the hardest parts of being a development executive—there’s always soooo much reading. Between books and IP constantly being submitted or chased, revisions of project material,  new drafts of scripts in development (which usually take priority), writing samples for upcoming meetings, scripts for staffing, etc., my reading list is usually three or four pages long.

That said, specs are usually a big priority because you’re always looking for the next great project. How quickly I read something depends on a few factors: the premise, the rep, and any sense of urgency. Obviously, if I love the logline and I’m intrigued by the auspices, I’ll read it right away. If a high-level rep with great clients—someone I want to maintain a strong relationship with – sends me something, I’ll prioritize it. The same goes for reps who consistently send me strong material or those who are genuine friends.

A lot of times, reps will give me the hard sell, claiming they’re already getting interest or planning to take the project into studios within the next two weeks because the material is so great. I usually fall for the hype and read those scripts quickly.

There are also plenty of reps who consistently send me bad scripts. While I still might say yes to reading them (you never know—maybe one will finally be good!), they definitely get lower priority.

Step 2:

A PRODUCTION COMPANY LIKES YOUR SCRIPT AND WANTS TO MEET

After I read a script that I like that I think has potential for development, I’ll reach out to the rep and set a meeting with the writer to hear where the show goes in series. If I’m being honest, this only happens with about 10–15 scripts a year—sometimes even fewer. Selling spec pilots is really hard, so I have to be selective.

That’s not to say I don’t read great scripts all year, but many factors go into deciding whether to put something into development. 

The number one factor, of course, is whether I think there’s a network or streamer that would actually buy the script. I read plenty of solid scripts that, for various reasons, are either not commercial, are tough sells, fall outside the scope of what my company develops, or are too similar to projects already in the marketplace—or ones I’ve developed in the past. I also have to consider my boss’s taste, as well as the preferences of the studio or network where I have a deal.

Sometimes, the scripts I see potential in and want to explore further aren’t necessarily great—at least, not yet. I often read specs that have a lot of issues but still show a ton of promise. If the idea is really strong and I see something viable and sellable in the project, and think the writer is capable of taking notes to make it better, I may still want to engage, even if the script itself hasn’t reached its full potential yet.

Similarly, there are scripts where the writing and overall concept are strong, but I worry about whether there’s enough story to sustain a full series. The classic, it would make a better movie than a show scenario. In those cases, the writer’s vision for where the show goes has to be exceptional for me to move forward.

After I reach out to the writer’s rep to express my interest, I’ll set a meeting with the writer to get to know them and hear more about their vision for the series. This is an incredibly important meeting, and it’s where I see most writers falter because they come unprepared.

I can’t tell you how many times I’ve met with writers who, when asked where their show goes in the series, they stumble. Some say they haven’t really thought it through, some throw out vague potential arcs, and others just give a five-minute, half-baked response. This is the worst thing you can do as a writer! It makes you seem unprepared—or, at worst, like you don’t care.

Make sure you know if you are meeting with a producer as a “general meeting” or it’s a development meeting because they’re still considering your script. 

If you’re meeting with a producer or development executive about a script they’re interested in developing, you must have a 15–20 minute pitch prepared explaining where the show goes beyond the pilot. This meeting is essentially an audition. The whole purpose is to prove that your script has legs and that you’ve put serious thought into what the show actually is.

So before you send your spec out to producers and start taking meetings, spend a few days or more refining your pitch and breaking ideas for your series!

It doesn’t need to be a finely polished, perfect pitch. You don’t need elaborate lookbooks, rip reels, or fancy visual aids (though if you have them and want to include them, great). At this stage, those things aren’t necessary—they become more useful later in the process.

Don’t send producers a bible or series breakdown beforehand! You don’t want to give them any reason to pass. You want to make sure you get the meeting and keep them excited about your project. 

In many ways, pitching after a spec pilot is written is easier than pitching the idea straight because the executives are already familiar with the pilot’s story and characters. 

I always suggest starting with a quick recap of where the pilot left off—like the “previously on” segment that used to precede TV episodes before the streaming era. Then, go into your series overview.

What executives will be looking for is:

• A breakdown of what happens in the entire first season

• Key character arcs for the main characters and some supporting characters. What is it that they want? Who are they at the start of the season and how do they change by the end? Every great show has amazing answers to these questions. 

• A brief tease of Season 2

Don’t get lost in unnecessary details—these should be broad strokes. You don’t need to go episode by episode. A useful approach is to break the first season into three acts, similar to a film:

Example: (Obviously you need to go into a to more detail, but this is a good template).

• Act 1: “In the first part of the season, Jason is on a mission to find his missing wife, who has been kidnapped by rogue spies. He spends the first few episodes going undercover as a getaway driver for a criminal organization connected to the spies …(then give more details)”

• Act 2 (Mid-Season): “By the midpoint of Season 1, Jason’s cover is blown, and now three different factions are after him. He’s forced to go off the grid with his estranged daughter…(then fill out some of the large story beats)”

• Act 3 (Season Finale Setup): “In the final few episodes, Jason discovers his wife has been working with the spies all along, and his entire mission was a ruse. After a huge action set piece in the finale at Caesars Palace, his wife escapes, setting up Season 2, where Jason will stop at nothing to get his revenge…”

Keep it clear, concise, and to the point—15 to 20 minutes max. After that, the executives will ask follow-up questions, giving you a chance to fill in any blanks and provide additional details.

And look, we all know that storylines will evolve if you’re lucky enough to get into a writers’ room for the project. But what the production company execs—and later, network execs—want to see is that your show really has legs and the ability to generate a lot of story. 

After the pitch is done, it usually leads to some back-and-forth about creative ideas, feedback, and brainstorming. If the exec is engaged and likes what was pitched, the conversation will likely continue for a while, with lots ideas being thrown around.

 I like to give my honest feedback during this time and offer suggestions on how to structure the pitch better, point out ideas that didn’t quite land, or identify areas where the writer should dig deeper. 

I also use this time to share any notes I had on the script—this helps me gauge whether I’m on the same page as the writer and whether they’re open to feedback if we decide to work together. I also use the meeting to sell my company and why we would be the best producers if I am really engaged on the project and want to move forward. A producer’s job is to always be selling.

As I mentioned earlier, this meeting is, in many ways, an audition—for both the writer and the executive. 

It’s crucial that both parties genuinely like each other on a personal level because, if the show becomes a success, they could be working together for years. After every first meeting, I ask myself: Could I see myself wanting to collaborate with this person for the long haul? Most writers pass this test. However, the writer also needs to ask themselves the same question about the exec.

Just as important, the writer should consider whether they liked the executive’s ideas and agreed with the notes given in the meeting. If a strategy for taking the project to studios and networks was discussed, did they align with the writer’s vision for how to get the show made? Do they trust that the exec can be the advocate they need and follow through on what they’ve promised?

Another critical factor I assess in this meeting is the writer’s professionalism, finesse, confidence, and lack of a better word… general vibe. It’s tough to define exactly, but I ask myself: Can I put this writer in front of my boss, our studio execs, or even the head of the studio? Would I feel confident having the writer pitch to Netflix executives, where they’ll need to sell the show and convince the streamer to invest $50–100 million into making their show? That’s a huge responsibility!

Sometimes the writers are just not great performers and pitchers, are too nervous, talk to fast, etc. This makes it very difficult to engage on the project. It’s unfair, but sometimes you just have to go with your gut about whether the writer can go the distance with the project. 

Ultimately, I pass on about 75% of projects after this initial meeting. The most common reason is that I just don’t find their ideas for the series strong enough. Coming up with a pilot story is very tough, but coming up with a whole season of stories by yourself… incredibly incredibly difficult.

Sometimes, it comes down to the writer not being prepared, or, unfortunately, a bad pitch performance. As I mentioned earlier, a lack of confidence or finesse can be a red flag—I need to be sure I can confidently put this person in front of decision-makers. It’s a tough reality: writers are expected not only to be great on the page but also to be compelling performers who can sell their idea, be entertaining, and convince people that their show needs to be made.

Occasionally, I’ll read a script that I love, but the meeting doesn’t go well—maybe I didn’t connect with the series ideas, or the pitch performance wasn’t strong. If that happens and I still believe in the idea, script or writer and still see the potential for a hit series, I’ll go out of my way to help the writer refine their pitch, improve their performance, and practice until they’re ready for the next step. 

That’s part of my job. If I believe in something, I’ll fight for it. But that decision comes down to whether I think my effort will be worth it. I have to really love the project to invest that much time, especially when there’s a chance my boss or the studio will eventually just pass on it. 

Typically, the first meeting is with development executives at the company rather than the main producer or company heads. Every company operates differently, but in my opinion, this is the best approach. I once worked at a company where the head producer insisted on being present for every big pitch and the first meeting after reading a spec. However, their expectations were incredibly high, they wanted the pitch to be in perfect shape and they lacked the patience to refine projects, leading us to pass on almost everything—even when I saw potential. I believe it’s best to finesse and practice the pitch more before bringing in the  boss (main producer).

A major factor in this process is the writer’s level of experience. If the writer is very established or in high demand, then of course, the boss should be reading the script and weighing in alongside the rest of the executives. Likewise, if the project is competitive or operating on a faster timeline, the boss may need to be involved sooner. However, most of what I’m describing applies to newer writers or those without extensive development experience.

That said, every company does things differently. I’m speaking from my experience, which has been fairly consistent across the last three companies I’ve worked with. I’ve mostly been at smaller companies with two to three development executives and a big boss, even when I worked at studios or held a senior development role. 

When I read a spec I like, I  usually share it with other development executives (VPs, directors, managers) and let them know I am meeting with the writer to discuss the series. They’re always welcome to join if they are interested.

If the meeting goes well and we still see potential in the project, we share it with the boss. There’s no reason for the writer to do additional work or preparation until we confirm the boss actually likes the project. Typically, the boss only wants to read the script after my initial meeting with the writer—they feel there’s no point in reading if we don’t think the project is viable.

If the main producer reads the script and wants to meet the writer to hear the pitch out, the development executives might meet with the writer a few more times before the boss meeting to ensure it goes as well as possible.

Once the boss reads the script, meets with the writer, and likes the series pitch out, the next step is to send it to the studio where we have a deal.

BUT – Sometimes there isn’t time for all these steps. It all depends on timing. 

If other competing companies move faster in their process and start  to send the spec script to their studio partners, our timeline speeds up. Unfortunately, sometimes, there is no time for practice and refinement, and there have been instances where my boss had to read the script immediately because the project had already gained traction, but passed because it wasn’t in as good as shape as it could have been with more practice.

In those cases, you just have to do the best job you can and hope for the best result. As much as I would prefer to go through all the steps above,  if the writer’s agent or manager tells me that the script has to go to my boss, into a studio by a certain time, or if offers are already being made on the script, the whole process has to speed up. That said, this type of situation is rare. People are notoriously slow to read, and even if other production companies are sending things to their studios, it could still take that studio a long time to read the script.

Not every producer has a studio deal. If a producer without a deal loves a spec, the writer’s reps might allow that producer to take the project to the studio where they have the best relationship, provided another producer isn’t already shopping the project there. This is called assigning territories.  There are also plenty of mini-studios (MRC, Fifth Season, Legendary, Skydance, etc) that are options, so you usually have places to take the script to.  I have only worked at companies with studio deals, so I am not an expert in navigating those situations.

It’s also worth noting that a writer might be going through this same process with multiple production companies at the same time.

If you have an incredible pilot that has attracted the interest of many production companies, you’ll be repeating these steps at each company. I know what you’re thinking, what a crazy and exhausting process…. unfortunately this is still just the beginning. 

While other production company processes may differ slightly (for example, some might arrange a meeting with the big boss right away, or some may love the script so much that they rush to get it into a studio before they hear the series ideas), I assume most companies follow a similar structure that I laid out above. 

If multiple companies are interested in taking your script to their studios, the writer has the ability to be more selective. If you didn’t vibe with a producer or didn’t like the executives’ notes, you can always decline their offer to take it to their studio

There’s no reason to waste people’s time or give producers false hope that they will land the project. However, my guess is that most agents will advise against this. Their job is to get as many offers on the project as possible and secure their client the most leverage and the best deal. So, agents will try to gather as many offers as possible and create competition over the project.

This process has become even more complicated in the streaming era, where production companies have deals with actual buyers (streamers) rather than just studios.  While studios connected to networks have always been a thing since I have been in the business (CBS Television Studios, Universal Television, ABC Studios, 20th Century Fox Television) with those studios mostly selling shows to their network counterpoints, production companies having deals with network/streamers is a new phenomenon. 

It’s a huge frustration of mine and has led to many challenges. If an agent or manager sends a script to a production company that has an exclusive deal with Netflix or Amazon, it means that if the production company likes it, they could end up sending the script to an actual buyer at the same time it is being taken into studios. 

If a writer has to choose between the opportunity to sell a project directly to Amazon or Netflix or to just a studio, of course they will likely say yes to the streamer. However, I have found that most of the time, streamers pass on projects that are rushed out to them the same time as studios. Most projects benefit from additional development, packaging, and pitch practice, that come with the traditional development process.

The frustrating part is that if Netflix or Amazon passes on a script after one of their affiliated production companies brings it to them, and it later gets optioned by a studio, let’s say,  WBtv or Sony, there’s a good chance it won’t be reconsidered by Netflix or Amazon. Essentially, one or more of the buyers has been burned. 

In an industry where there are  very few buyers left, losing a potential pitch opportunity is a big deal. That said, there are always workarounds. Amazon and Netflix have so many executives and departments that there is usually a way to pitch to another executive down the line. Although there have been a few times I have tried this and the exec has told me there is a record of them passing on the project already. 

Part 2 will release tomorrow and cover pitching without a spec script already written, as well as the studio development process.

Comment below if you have any questions or have experienced anything differently during the development process!