Development:

Writing the Story

You may have questions about how to format a particular scene, parentheticals, pieces of dialogue, character introductions, action scenes, flashbacks, etc. The writing process differs for everyone, but the “traditional” path often includes some kind of story development.

In general, however, decide whether the story you want to tell is a feature film, a short film, a one-hour drama pilot, or a half-hour comedy pilot. Each of these has specific needs that you must meet.

Typically, a TV show idea has a repeatable premise that can generate stories week after week (the 'engine')—such as cops investigating crimes, lawyers defending their clients, or doctors healing patients (these are called procedurals). If your idea is a more encapsulated story, perhaps a single narrative, it's probably a feature film. It might be a short film if it's more of a moment.

Where to start:

  • Stories start with characters, so decide who your leads are, what their stage of life is, and most importantly, what they want (i.e., their goals). The story flows from character goals, so it's important to figure out these goals before you start writing.

    Character development resources can be found here

  • Structure is a way of talking about how and when you move from each important story moment to the next. Each format has its own structural beats. Some common structures are outlined here and here. 

    • Dan Harmon, creator of Community, developed the story circle, which is widely applicable to TV and film. It's another common way of thinking about structure. 

    TV has its own specific structure depending on whether you're writing a half-hour or an hour, and how many acts you use. Some resources: TV structure - this discusses 1/2-hour and hour scripts. 10 feature screenplay structure types. 

  • Map your story to the main structural beats of the screenplay. This involves figuring out what happens at your inciting incident, at the first act break, at the low point/all-is-lost moment, at the climax, and so on. It can be in bullet point form, but once you know these beats, you can start writing the outline. In TV, you'll need to break the A, B, and C stories. From the subreddit: How do you turn a vague idea into a complete and coherent plot?

    Showrunner Matthew Federman has advice on breaking stories here and here.

  • There’s no single “right” way to write an outline—unless you’re submitting it to a studio or network, in which case their guidelines will dictate the format. At this stage, your outline is primarily for you. It’s a tool to keep you on track with your story and ensure you’re covering all the necessary points. Making changes is much easier when your story exists in outline form, rather than after you’ve written 40, 60, or 100 pages of script. While it’s important to aim for clarity and structure in your outline, don’t be afraid to deviate from it when you start writing.

    Some showrunners and writers' workshops have adopted a beat sheet—a more intensive, zoomed-in version of the outline. This breaks the story into detailed beats, offering an even deeper roadmap. While it’s not a requirement, it can be a useful tool for those who prefer a more granular approach to story planning. Whether you use a traditional outline or a beat sheet depends on your workflow and creative preferences.

  • Once you have an outline, you may feel ready to write your first draft. 

Resources: