THE NETWORK DEVELOPMENT PROCESS

The development process with the network is usually straightforward—the keyword being usually. In some ways, the pressure is off: the writer is finally getting paid (sometimes for the first time after months of work), and there’s less of a guessing game since the network should know what they want—the keyword being should.

At the end of the day, you go through the steps, and by the end of it, you’re either making a television show or you’re not. But in the age of streaming, like everything in the development process, things have gotten more complicated.

It’s worth noting that for decades, the entire TV development process typically took around ten months, sometimes even less. Writers would start meeting with producers after upfronts, usually in June or July and then with studios soon after. They would pitch to networks in September or October, turn in their first draft in early December, revise once or twice, and find out in January whether they were shooting a pilot. By May, they would know if they were going to series. 

Cable TV extended this timeline slightly, especially at premium networks like HBO, but it was streaming that fundamentally changed the process—particularly by forgoing pilots and enabling year-round development.

The Kickoff Call

Network or streaming development officially starts with a kickoff call. 

This is the first time the writer interacts with their new network executives since the pitch—and really the first normal conversation, as opposed to just performing a pitch. The call typically includes the writer, producers, studio executives, and network execs, so get used to many phones or zooms with tons of people on them. 

Eight out of ten times, this is a quick and painless call. The network expresses excitement about the project, praises the pitch, and provides an overview timeline of the process, including material delivery and potential deadlines.

Most of the time, the network will either:

• • Send the writer off to draft a story document (a 3–6 page summary of the pilot story)

• • Move the writer straight to an outline (a more detailed, 10–20 page breakdown covering every major beat of the pilot).

However, in rare cases, a kickoff call may bring unexpected major revisions to the pilot story. 

Usually, writers are given a heads-up if the network wants significant changes to the series before finalizing the deal, but there have been instances where the writer, producers, and studio are completely blindsided. This typically happens when a higher-up at the network who wasn’t in the original pitch reads the pitch pages later and decides they want a different structure.

Some examples of major changes I’ve encountered on kickoff calls:

• • Moving the big climax of the pilot to the end of the first season—or vice versa

• • Gender-swapping the leads

• • Changing the show’s intended tone

• • Making a supporting character the protagonist and shifting the story to their perspective

• • Simplifying the narrative by cutting out flashbacks or additional timelines

Sometimes, these suggestions are brilliant, and as a producer, you kick yourself for not thinking of them sooner. Other times, they’re alarming and completely change the type of show you thought you were making.

Yes, writers can push back on changes that compromise the integrity of their project. But at the end of the day, the network usually wins these arguments—they control whether the show gets made. If you deviate too far from what they want, it doesn’t do anyone any good.

That’s the most common theme in developing with the network – A lot of times, what they say goes. Yes, they want the show to be yours and see your visions and sometimes they give bad notes, but they want to see that the writer is cooperative and someone they can trust, if they are going to make a significant investment in greelighting the show. 

When dealing with major changes at the kickoff stage, I advise writers to take a few days to process the notes. If they struggle to wrap their heads around the new direction, producers or the studio can discuss potential compromises with the network. Starting development on a combative note is never ideal.

A good approach is to draft the story document using the network’s suggested new structure. If the writer still has concerns, they can voice them during the next notes call. A lot of times, networks realize their mistake after seeing the new version and revert back to the original idea. But they do love seeing that a writer is open and attempted to make their changes. 

But you will be happy to know that significant early-stage changes are rare. More often than not, kickoff calls are short, with execs just reaffirming their enthusiasm and sending writers straight to outline. After all, they bought the project because they liked it. Any major concerns should have been addressed before the deal was finalized.

I have been in situations where writers had two offers on the table: one from a network that loved the project as is with no major notes, and one from a network that also loved the project but had significant changes. In such cases, it’s up to the writer to decide which path to take. If the writer really wants to work with the network that wants the changes—because it’s the best fit for the project and they believe they can embrace the changes—then by all means, go with that buyer.

If the network bought a spec pilot and the first episode is already complete, then most of the time, they will order a backup script, which becomes the focus of the development process. 

The kickoff call might consist of notes on the pilot script, followed by a short pitch from the writer on the story for the second episode. If there aren’t major notes on the pilot script, the network might have the writer work on script revisions while also writing the story document for episode 102. However, if they have significant notes on the pilot script, the network may want the writer to focus on perfecting the script before starting work on the second episode.

The Story Document

Usually, the writer will have a week or two to write the story document. This depends on how much the story needs to change based on the notes from the kickoff call. Often, the writer can simply tweak what was written for the pitch, and many times, the writer has already started on the story document during the time it took for the network deal to close. 

Once the story document is ready, the writer first sends it to the production company. They read it, quickly provide any notes, and ensure that the network’s suggestions have been executed satisfactorily. The writer then revises it based on the producer’s feedback, and the producers pass it along to the studio. This becomes a bit of a rinse-and-repeat process: the studio reads it, gives their notes, the writer revises, and the document is sent back to the network for further feedback.

Nine times out of ten, the writer will then be sent off to outline after receiving the network’s notes on the story document. However, if there are major concerns about the plot or if the network dislikes the changes made along the way, they might ask to see a revised story document before moving on to the outline.

The Outline

The outline is much more detailed than the story document. For most of my projects, they range from 10 to 25 pages. I always suggest keeping it on the shorter side because overly long outlines can be tedious, but ultimately, the outline should provide as much detail as possible and it essentially summarizes every scene of the pilot. 

This helps ensure that the network has complete confidence that the writer will deliver a great script and that the entire pilot story has been clearly defined and signed off on. 

Outlines need to convey the story, dive deep into the characters in order for them to pop off the page, and showcase the project’s tone. I have met writers who are brilliant at writing outlines that are both informative and entertaining, while others struggle and produce dense, confusing documents that require significant changes. It’s not the most fun part of the process, but it is essential.

Similar to the story document, the outline goes to the producers first, then to the studio, and finally to the network—with notes and revisions at each stage. This is why finding great producers is essential. They are the first to read every draft; they’re in your corner, offering support when you’re frustrated, and helping you decipher all the notes along the way to ensure that the final product pleases everyone involved. 

Most of the time, the writer interacts primarily with the producers throughout the process rather than directly with the studio or network. The producers act as intermediaries, delivering news and updates to the writer. However, if the writer has close relationships with the studio and network executives, there may be more direct interaction.

Occasionally, producers and the studio may disagree on notes, or their feedback might conflict. This can be very frustrating for the writer. The writer and producers might turn in a draft to the studio, thinking it’s in great shape, only to receive a surprising volume of notes. It can be tough to navigate, especially early on, but it’s important not to overreact. It’s important to keep in mind that most executives give notes they sincerely believe will improve the material. The studio gains nothing from self-sabotaging the project with misguided feedback. But everyone has an opinion and different taste, and it’s important to just take all the notes in and figure out the best path forward. 

Keep an open mind and try to understand where the notes are coming from and why the executive believes the changes will help the project. The writer is almost never forced to accept a note; they are merely suggestions. Notes calls are usually conversational, allowing the writer to voice opinions and concerns about why a note might not work or to explain their choices. 

Ultimately, the writer must trust their gut, but it’s best to always go over the notes with your producers to see if there’s a way to satisfy questionable notes while keeping the project true to your vision. At this stage, it’s all about satisfying the network and delivering what they want—so if a producer or studio note conflicts with what the network has stated, it’s definitely acceptable to push back.

Once the network receives the outline, the goal is for the project to move to the script stage. The network usually provides extensive notes at the outline stage to set the project up for success, giving the writer as much guidance as possible to deliver an outstanding first draft. 

Sometimes the network will tell the writer that all notes can be addressed during the script phase, but if the feedback is extensive or there are major structural or plot changes to make, they might ask for a revised outline. Don’t get frustrated if this happens—I have been part of many successful projects that required two or three revised outlines before moving on to the script.

I truly believe that the more invested the network seems and the more notes they provide, the more excited they are about the project. It shows they care and want the draft to be in the best shape possible. It’s more concerning when they offer only a few notes and seem to rush through the whole development process, as that might indicate lower expectations or a “let’s just see what happens” approach. However, the key is that the notes are constructive. If the network pushes the project too far from its original intention, it can be incredibly frustrating for everyone involved.

Writing The First Draft

The writer usually has around 6–8 weeks to deliver the script to the network. This means it’s a good idea for producers to aim for a first draft in about a month, allowing time for revisions before it goes to the studio. The timeline for your first draft could depend on the network and any deadlines they might have for making a greenlight decision.

Most streamers operate on their own timeline and may allow more time for a first draft. Basic and premium cable networks often have specific months for greenlight decisions. Sometimes, production factors, such as shooting schedules, affect deadlines—for example, if your show needs to shoot in winter, the network may require the final draft by September.

In other cases, if your show pairs well with a hit series on the network, they might set a deadline so that all episodes are shot in time to air when the hit show returns. If your show is awards bait, the network might want your show in production so that all episodes are ready to air in the March–June window when Emmy contenders typically debut.

As with previous steps, the producers are the first to read the draft when it’s ready. Most first drafts are far from perfect. Producers understand that the script may be rough, and they will work closely with the writer. I have never seen a first draft that didn’t receive at least 2–3 pages of notes—often much more. The first draft might be overly long, include unnecessary scenes or characters, or have confusing exposition or dialogue. When you are writing a first draft, these things are completely understandable. This is typical whether you’re a new writer or a seasoned professional with twenty years of experience. When you’re working in a bubble and haven’t received any feedback yet, there will always be room for improvement.

Giving notes at this level can be difficult for new executives, especially if the script isn’t in great shape and still requires a lot of work before going to the studio. It’s important to strike the right balance with the notes: be excited, supportive, and appreciative of all the hard work the writer has put into the project, and give them the confidence and enthusiasm to start working on the new draft, while also being honest and clear that there is still much work to be done. I feel very confident in my note-giving ability, but it took a lot of work to strike the right balance.

Usually, when I give notes to writers, I offer them the option of starting with a phone call to go over the main gist of the notes and then follow up with an in-depth notes document, or I provide the notes document first, let the digest the thoughts, and then schedule a follow-up call to address any questions and brainstorm new ideas or fixes for the script.

Each writer has their own preference for what works best, but I do think it’s very important for the writer to have the notes in writing so they can clearly see all of the feedback and refer to that document when revising.

Sometimes, for the first draft, producers will go through two or three rounds of notes before sending the script to the studio. This depends on the timeline as well as the writer’s personal preference. I have worked with writers who want the script to be in excellent shape before it goes to the studio, so that it can get to the network faster, while other writers become frustrated after a draft or two with producers and want the studio’s input. 

Sometimes, the studio gets restless and starts calling the producers for updates or pressures them to review the draft sooner. If you’re under a time crunch and the producer only has time for one round of notes on the first draft, they might send it to the studio and give them a few headliners of things they think still need to be improved.

Once the studio reads the draft, as before, they will weigh in with their notes. Sometimes, the notes are excellent and continue to strengthen the draft, enhancing the elements that are already working. Other times, the notes are not helpful and start to contradict the direction you and your producers have been taking the script.  

Often, a bad note can be deciphered by asking, “What’s the note behind the note?” Many times an executive will make suggestions (sometimes bad ones) because something in the script isn’t working or a certain moment isn’t landing as intended. If the executive can’t adequately pinpoint why a moment isn’t working, they might start throwing out different suggestions and their own pitches on how to fix the problem. I always think it’s best to ask the writer what the intention of a scene or moment is—is it meant to be a major character turn, a big surprise twist, or some sort of thematic revelation? If the intention isn’t coming through, then usually the writer can come up with a fix to help that intention land better.

At the end of the day, the most important thing at this step in the process is to ensure that the draft reflects what the network wants and expects. If the studio or a producer gives you a note that drastically changes what the network wants, you should definitely push back. However, it’s still important to keep in mind that everyone giving you notes has the best intentions and the same goal: to make the draft as strong as possible so that the network will love it.

Once the studio feels the script is in good shape, they will send it to the network. Hopefully, they will be quick to review it, but these days, a 2-3 week turnaround is the norm—although some streamers are better, and I have received notes a few days after turning in the draft. The waiting can be extremely nerve-racking for the writer.

After the network reads the draft, they usually provide a brief heads-up to the studio about their overall thoughts on the script before setting a call. Then, the studio informs the producers, who pass the information along to the writer. Sometimes, it feels like a big game of telephone! 

The heads-up isn’t usually very in-depth—something like, “There’s a lot to like, but the characters aren’t quite popping yet and need a bigger drive,” or “We want the inciting incident to happen earlier,” or “The last act is a little muddled and needs to be more suspenseful.” The purpose of the heads-up is to prepare the writer for the detailed notes and for them to start thinking of solutions that they can propose on the call with the network executives.

Network notes calls are usually very in-depth and last 40 minutes to an hour. They will go through their notes, and then the remainder of the call becomes more of a conversation where the writer can ask questions and start brainstorming ideas. Network executives are typically very adept at delivering notes. They are usually upbeat and enthusiastic on calls, which helps energize the team. As I mentioned earlier, if the network provides a lot of notes, don’t be discouraged—this is usually a good sign that they are invested in the project and want the script to be as strong as possible. I always get worried when they offer very few notes, especially if the script still needs significant work, because that might indicate they have low expectations for improvement.

The only time I get very frustrated with network notes is when the network tells the studio and producers that the script needs a ton of work and gives an extensive heads-up about all the things they want fixed, but then during the actual notes call, they resort to being overly positive—talking about everything they love about the script while downplaying the notes. 

I have been on calls where I knew the network was worried about the script and had many concerns about the draft, but the writer later called me elated because they thought the network loved the draft and that there weren’t many notes to address. This puts me in a very awkward position and it makes it very difficult to tell the writer that there is actually a lot of work to be done still. 

After this, the process repeats, and the network weighs in on about 2-3 drafts. Again, producers will read, then studio, and then network, with notes between each. 

Getting That Greenlight

After your network executives think the script is in great shape, the next steps in the process varies with every network or streamer and is constantly evolving. I will briefly discuss some of the different scenarios that can occur between turning in the final draft and waiting for a greenlight.

Each of these steps might result in a greenlight –– while other times you must go through all of them.

• • The script might go to the higher-ups at the network for review. Usually, this is the EVP or President, but sometimes its the head of all scripted who has final greenlight power. If it’s the EVP or President at first, they might return with some notes before giving the script to the executive with the ability to greenlight. It used to be that a pilot or series could be greenlit based solely on a great pilot script, but that is usually not the case anymore. However, there are a few factors than can lead to a project getting greenlit off a really strong script including; if the project is a high priority,  has a production commitment, it’s based on big IP, a movie star or A-list talent is already attached, or there is a financial penalty against it if the network doesn’t move forward with it.

• • More commonly, if the higher-ups like the script, they will order a backup script or a bible/format document. A backup script is the second episode of the series, while the bible/format is an in-depth 50-100 page document detailing most of season one and some of the series’ highlights. Sometimes, a network will order a mini-format, which is only 20-30 pages.

• • If the network only orders a backup script and not a format, the network might then set a meeting and have the writer pitch a summary of the remainder of the season in front of various higher-ups, including production executives, marketing, scheduling, etc. Then, the committee will decide if the project should be greenlit. 

• • If there is no showrunner yet, the network might task the studio and producers with finding an approved showrunner before greenlighting or moving on to the next steps. If a showrunner was brought on earlier in the process, the network might also task the producers and studio with finding a pilot director or lead actor during this time.

• • If the network likes the backup script and the bible/format (or the pitch), they might order a “room” or a “mini-room” before making a production decision. If they order a full room, then the showrunner and/or creator will hire anywhere from 5-10 writers, who will write every episode of the first season before a production decision is made (sometimes, the project is greenlit if very strong drafts are delivered after the first few episodes) 

• • Mini rooms were more common, but after the strikes, there are very few. In a mini-room, the showrunner hires 2-4 writers, and they generate 3-5 scripts before a greenish decision is made. Then a larger room is put together. 
  • It is also common for a budget and sometimes locations to be signed off on before getting a greenlight, which is another frustrating hurdle to jump through.

These steps are constantly evolving, and every network has its own preferences. But for the majority of writers, these are the stages that must be navigated to get their show greenlit. 

Of course, I am speaking only from my experience of going through this process over 70 times; other producers and writers may have completely different experiences. 

It can be crazy and extremely daunting at times, but also incredibly rewarding if millions of people all over the world get to watch the show you created!