4 Days, 5 Power Moves: Crafting Your Netflix Pitch Worthy TV Show Bible Like a Boss

Okay, folks, it's Natasha "TV Maven" Williams here!

Let's talk TV series bibles. Imagine it's like a secret codebook that outlines your entire proposed show. It's a sneak peek into the lives of your beloved characters, the dramatic arcs they'll traverse, and the world they inhabit. If your TV show bible doesn’t scream "binge-worthy", your series might just end up being better suited for a one-off TV movie or feature film. Yikes! 

Here's a heads-up: These power moves can double as a brainstorming session to flesh out your TV show before you even start penning the bible. So, let's get cracking!

Pre-step: Always remember, there’s no such thing as a totally fresh idea, just your spicy, ingenious spin on an old one. So, get creative, skip the snoozefest, and make it a page-turner!

Day One:

• Power Move #1: Start with a killer title that'll get everyone's attention.
• Power Move #2: Pen down your series concept in two punchy paragraphs. Cut out the fluff and hone in on the meaty details that get to the heart of your story.

Day Two:

• Power Move #3: Transport us to your series' universe. Paint a vivid picture of the world where your characters live.
• Power Move #4: Give us the lowdown on your main characters. Who are they? What are they after? How do they interact with each other? Keep it short and sweet.

Day Three:

• Power Move #5: Develop six sample episode storylines. These should be brimming with challenges your characters will face each week. And remember, tension is key! A story with no conflict is like a pizza with no cheese. No, thank you!

Day Four:

Post-step: Time to refine your masterpiece. Make sure it’s engaging, unique, and free of grammar mishaps.

And voila! There you have it, your rough draft bible in just four days! If you hit a roadblock, don't sweat it. Take a break, get back to it later. Don't let a hiccup halt your progress. After all, even the best of us need a little extra time to polish our gems. 

Once you've got a rock-solid bible, it's time to move on to the fun part - writing the pilot episode!

A Quick Dose of Pilot Wisdom

A pilot episode is the litmus test for your series. It's the make-or-break moment, where networks decide if they want to invest in more episodes. But hey, even if your pilot doesn't make the cut, don't fret! It can still be transformed into a spec screenplay.

Did you know that some iconic shows like Eureka and Babylon 5 started as TV movies? That's right! So, you never know what path your script might take. It could become a standalone movie, a sequel, a franchise, or even a spin-off show! Always think about the potential for your script to become more.

In Summary:

• A TV series bible is an essential tool to pitch your series, providing insights into characters, themes, and the show's sustainability.
• Day One: Craft a captivating title and summarize your series in two tight paragraphs.
• 
  Day Two: Describe your story world and give succinct bios of your characters.
• Day Three: Whip up six sample episode storylines, highlighting the conflict and tension in each.
• Day Four: Proofread, edit, and ensure your bible is unique and engaging.
• Don't get discouraged by potential roadblocks; take your time to polish and perfect your bible.
• Once your bible is ready, it's time to write the pilot episode.
• Keep in mind, even if your pilot doesn't lead to a series, it can still be a great spec screenplay.
• Always consider the future potential of your script – it could lead to sequels, franchises, or spin-offs!
• Top of Form

That's all, folks! Remember, creativity may be a wild mind, but it's a disciplined eye. Write with passion, write with purpose. Write on!

Check out my new venture, a TV Network for women's empowerment! Boss Ladies TV 

Screenplay Structure format

You've asked for it, here it is.  I found this in my files so I'm not sure where I got it from, could be a workshop I attended years ago, but I do use it when brainstorming a new idea.  It really helps to get the idea out of your head and onto the page.

Screenplay Story Structure


HOW TO USE THIS STEP OUTLINE:

This is a suggested structure, with all your story points and illustrations already woven. You may use it as is, or adapt it.

The step titles and explanatory text present elements of conventional story structure that you may already be familiar with.

Each step may represent a scene, or more than one scene.

Add, Delete, or Move steps as necessary for your particular story.

You may delete the title, explanatory text and instructions in each step, once you understand them. However, it's advisable to print the Story Treatment report with this text first, before deleting it. You may want to keep the text (except for these instructions) in your reports to refer to when writing.

For simplicity's sake, the Main Character is also the Protagonist, making him/her a hero character. This need not be the case with all stories. Similarly, the Impact Character is also the Guardian.

Step #1 - Set-Up the Normal World

--Open with a visual image and event that sets the place, tone, circumstances, and theme of the film.

Step #2 - Introduce Main Character

--Present the Protagonist/Main Character in an occupation or activity that best defines him/her.

Step #3 - Main Character Goal

--Show the Main Character's personal goal and any obstacles to it.

--Dramatize any relevant backstory.


Step #4 - Inciting Incident

--An event or decision that sets the plot in motion, and tells the audience what the story will be about.

Step #5 - Introduce Love Interest/Partner/Relative

--Present the character whose ideas/methods conflict with those of the Main Character, but who has an influence on him/her throughout the story.

Step #6 - Central Question Raised

--Resolving the problem or situation presented here (based on the Inciting Incident) would bring the story to an end. An Antagonist character, directly opposed to the goal, is introduced.

Step #7 - Subplot Set-Up

--Main Character and partner disagree over their basic nature/way of doing things.

Step #8 - Subplot Set-Up

--Main Character and partner disagreement escalates into conflict.

Step #9 - Plot Point 1

--Event that turns the Normal World upside-down, propels the story in a new direction, raises the stakes, and defines the specific plot goal.

Step #10 - Reflection/Doubt

--Something happens to cause the Protagonist/Main Character to doubt his/her ability to achieve the story goal.

Step #11 - Rising Action

--Protagonist/Main Character feels compelled to make decisions/take action toward the story goal.

Step #12 - Raising The Stakes

--The Antagonist causes an event or decision which makes the goal harder to reach, and more dangerous for the Protagonist/Main Character.

Step #13 - Rising Action

--Protagonist/Main Character pursues the goal with increased vigor.

Step #14 - Rising Action

--Protagonist/Main Character escapes Antagonist's clutches.

Step #15 - Subplot Point 1

--Partner character goes out on a limb for Main Character, bringing them closer together and changing their relationship.

Step #16 - Rising Action

--Antagonist steps up opposition to the goal.

Step #17 - Subplot Reflection/Doubt
--Main Character holds back from the relationship with the Partner character.

Step #18 - Rising Action
--Antagonist goes after Protagonist/Main Character.

Step #19 - Subplot Development
--Partner character's actions cause a setback in the relationship with the Main Character.

Step #20 - Subplot Development
--Main Character mends rift with Partner character.

Step #21 - Rising Action
--Protagonist/Main Character seeks to bypass Antagonist.

Step #22 - Subplot Development
--Partner character makes effort to help Main Character.

Step #23 - Subplot Development
--Main Character's interest captured by another competing character, to dismay of Partner character.

Step #24 - Subplot Development
--Main Character and Partner character work together as a true team.

Step #25 - Subplot Raising The Stakes
--Main Character and Partner character relationship tested/questioned by other character trying to drive a wedge between them.

Step #26 - Rising Action
--Antagonist presses the issue.

Step #27 - Subplot Development
--Partner character proves worthiness to Main Character.

Step #28 - Raising The Stakes
--The Antagonist causes an event or decision which makes the goal seem impossible to reach, and makes disaster likely for the Protagonist/Main Character if he/she tries.

Step #29 - Subplot Development
--Main Character and Partner character relationship is comfortable, running smoothly now.

Step #30 - Subplot Point 2
--The ultimate test of the relationship. How far will Main Character and Partner character go to commit to each other...?

Step #31 - Subplot Reflection/Doubt
--Both Main Character and Partner character worry that their relationship will not work out.

Step #32 - Lowest of the Low
--Protagonist/Main Character is running out of time or options now. Achievement of plot goal seems impossible.

Step #33 - Plot Point 2
--Event that again propels the story in a new direction, speeds up the action, and asks the Central Question again. Protagonist/Main Character finds new sense of purpose.

Step #34 - Reflection/Doubt
--Main Character gathers strength and resources for the final push for the goal.

Step #35 - Rising Action
--The Antagonist marshals all his/her forces against the Protagonist/Main Character.

Step #36 - Rising Action
--It's "kill or be killed" now for the Protagonist/Main Character, who is tested to his/her limits by the Antagonist.

Step #37 - Plot Climax/Subplot Climax
--In a final struggle, the Protagonist/Main Character defeats the Antagonist to achieve the plot goal (or not), goes out on a limb for the Partner character, and answers the Central Question set up earlier.

Step #38 - Plot Resolution/Subplot Resolution
--Loose ends are tied up. Characters start to get on with their lives, now that order has been restored.

May Featured Screenwriter: Michael Elliot

Featured Screenwriter: Michael Elliot

Produced Movies: MTV’s Hip Hopera Carmen, Like Mike, Brown Sugar, Just Wright

Michael Elliot, CEO of Michael Eliot Media, has spent a lifetime beating the odds. Twenty-seven years ago, he was a high school dropout and homeless. Today, having written films that have generated over $115 million in box office revenue and having won the 2011 NAACP Image Award for Outstanding Writing in a Motion Picture, Michael Elliot is one of the most accomplished African-American screenwriters in Hollywood.

Michael’s career began in 1988 when he published Krush Magazine – the first publication ever devoted to covering the burgeoning world of hip-hop music exclusively. Month’s later, other hip-hop publications would follow his lead, including The Source magazine.

Shortly thereafter, Michael set his sights on television. With just $300, Michael launched “Krush Rap” – a locally aired music video program that was eventually syndicated in 21 markets. The weekly television series aired for two years, and generated over $500,000 in advertising dollars.

Next, Michael turned his attention to the book-publishing world. He authored, designed and self-published the hip-hop guidebook, The Unsigned Rappers’ Guide to Getting a Record Deal. Within one year, the book yielded twelve times his investment.

Impressed with his track record in 1992, Michael caught the interest of the owners of The Source Magazine. Recognizing his ability to “make things happen,” the owners offered Michael a position as Director of Special Projects.

While at The Source, Michael continued to explore unchartered waters. Radio was next. Michael was offered his own 2-hour weekly hip-hop show on one of Philadelphia’s top-rated radio stations, and thus began a weekly commute from New York back to his hometown, where he moonlighted as an on-air radio personality. However, the commute would be a short one. Impressed with Michael’s radio performance, New York’s famed hip-hop station, Hot 97, wanted in. Michael quickly made the transition from the country’s number four market to the country’s number one. And his voice was now being heard by millions of New Yorkers. As such, Michael was simultaneously succeeding and ascending at the goals of his day job — taking The Source magazine to new heights, and at DJing. But before long, not even Hot 97 could contain him…

Sony Worldwide Networks had just partnered with hip-hop impresario Russell Simmons to launch a 2-hour nationally syndicated hip-hop countdown show. Michael was chosen to host and co-produce the weekly radio show, “Street Heat”. For the next two years, Michael would work for The Source and Sony Worldwide Networks, hosting and co-producing what would become the most successful radio show of its kind, expanding its listeners into 42 markets, including Guam and St. Martin.

In 1995, Michael resigned from The Source and returned to Philadelphia. There, he would make plans to make his wildest dreams come true. Michael wanted to make movies, and where else would he do that? Hollywood.

Michael became aware of Sean “Diddy” Combs’ interest to establish a film and television arm of his highly successful hip-hop label, Bad Boy Records. After meeting with Diddy about the future mogul’s plans, Michael relocated to Southern California in the fall of 1996, and was appointed President of Bad Boy Films.

Unfortunately, Michael’s tenure with Bad Boy Films would be short-lived. Four months into the job, Diddy’s friend and biggest star, The Notorious B.I.G., was murdered. Forty-eight hours later, Bad Boy Films was dissolved, and Michael was unemployed. But failure was not an option. Neither was returning to the East Coast without succeeding in this new arena.

Armed with a computer, a book on screenwriting, and a Blockbuster Card, Michael began teaching himself to write screenplays. Approximately 13 months later – without the help of an agent or manager – Michael sold his first screenplay Seven Days to 20th Century Fox.

Upon reading of his successes in Hollywood, Michael’s former employer, The Source magazine contacted him with a handsome offer to return. The hip-hop publication had been working unsuccessfully with the William Morris Agency to get their awards show to appear on network television. After every network in Hollywood (including UPN), had passed on a proposal to do a special with The Source, Source owners turned to the one person they knew had the ability to “make things happen.” Michael accepted the challenge, and as President of Source Entertainment struck an unprecedented deal for a special on UPN, within a month of taking his position. As also the show’s Executive Producer, Michael’s “Source Hip-Hop Music Awards” (1999 and 2000) set new rating records for the struggling network and generated more than $15 million in revenue. However, after violence broke out during the ‘2000’ airing of the show, Michael resigned to focus on his screenwriting and producing career. That decision proved to be a good one.

In less than one year of returning to the film business, Michael had 3 consecutive films ‘green lit’. These included the critically-acclaimed MTV’s Hip-Hopera: Carmen, which Michael scripted and executive produced, launching feature film careers for Mos Def, Bow Wow, Joy Bryant and of course, Beyonce Knowles.

In addition, Michael wrote the film Brown Sugar, a hip-hop love story that was made for $8 million. The film earned $11 million during its’ first weekend of release. On less than 1,000 screens, Brown Sugar grossed nearly four times its’ cost to produce at the domestic box office.

Michael also wrote the family film Like Mike, which starred Bow Wow. Like Mike earned over $62 million at the box office. The film’s success on the home market prompted the making of Like Mike 2, four years after the original’s theatrical run, in July 2006.

In 2009, Michael’s screenplay Just Wright was filmed in New York, marking Michael’s fifth produced credit in 12 years. The romantic comedy stars Queen Latifah, Paula Patton and Common, and was released in theaters May 14, 2010 by Fox Searchlight Pictures. Made for just $12 million, Just Wright earned the total amount spent to produce it within 8 days of its initial release. And it did so from just 1,800 theaters – a mere 40% of the average theater count of a typical ‘wide’ release film. In 2011, Just Wright was nominated for four NAACP Image Awards, including Outstanding Writing in a Motion Picture, which was presented to Michael on the stage of The Shrine Auditorium.

Over his 14-year screenwriting career, Michael has developed projects for some of Hollywood’s most important movie studios and television networks including Warner Bros. Pictures, 20th Century Fox, HBO, Walt Disney Pictures, Fox 2000 Pictures, BET, Universal Pictures, Fox Searchlight Pictures, VH1, Paramount Pictures, Showtime, and New Line Cinema.

As CEO of Michael Elliot Media, Michael continues to create motion pictures, mentor, and inspire others as a motivational speaker. In addition, Michael is committed to help tomorrow’s breakthrough screenwriters, break-in, with his seminars, webinars, script consulting services, eNewsletter, and his downloadable directory of industry contacts – all available on michaelelliotmedia.com.

Million Dollar Script sold by first timer

29-Year-Old Former Assistant Sells Million Dollar Script About Internet Datestalking


Emma Stone is reportedly in talks to star in a movie based on a screenplay about cyber datestalking written by a woman who, until last week, was Adam McKay's personal assistant. The script's called He's Fuckin' Perfect, and the writer is currently accepting applications for people interested in officially living vicariously through her.

The movie, like all movies, is about a good intentioned but overly neurotic young woman who just wants what's best for her friends. She diligently researches men online for others until she finds a guy who would be just right for her. There's one problem: she's all neurotic and doesn't think she's good enough for him! To fix this, she creates a fake internet persona that totally doesn't backfire. Things ensue!

The script's writer, 29-year-old Lauryn Kahn, reportedly sold her script to Fox 2000 pictures for between $1 million and $1.5 million. After finding out that she could finally afford to buy all of the happiness she's ever wanted, she quit her $40,000 per year assistant job to write scripts full time and be fanned by tan musclebound men who use only the finest palm fronds. In my imagination, Adam McKay is watching her wistfully as she waves goodbye. Goodbye, my love.

Anyway, the moral of the story is: never let go of your idiotic dreams. A million other people might have the same dream, but maybe one day you'll get lucky and the wheel of fortune will stop on you. Or you'll get unlucky and be the first person in your state to die of dysentery since the 1940's because of some expired cottage cheese you ate.

Emma Stone in talks to star in Lauryn Kahn Fox 2000 Spec [Deadline]

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Excerpted from the Jezebel.com blog post written by Erin Gloria Ryan

Genres that sell - April 2012

What types of scripts sold in April 2012?


Here’s a break down of the genres sold in April 2012 per the Scoggins Report:

Genres Sold

2 Action/Adventure
3 Comedy
0 Drama
1 Horror
0 Sci-Fi
3 Thriller

Write from your heart, continue to show up on the page and know that good writing will eventually sell. If you keep at it and believe that quitting is not an option, your time will come.

Write right and write on!

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For more industry information, check out http://www.itsonthegrid.com/.