Pilot Scripts - A Question

The question: When script writing would you write a pilot script in any way differently to when writing a "normal" episode?

What I mean by this is are there any set rules when it comes to writing a pilot? Does the pilot have to be a "first episode" as such? Does it have to include every character?

Obviously I know what pilot episodes are, I've seen enough of the things! I'm just quite new to the whole writing side of things - mainly due to my age - and was just wandering what makes a good pilot? Am I over thinking things?

OK, so I know I said A question, turns out I had a few! Thanks BCG

A pilot script can be very hard to write, because it's potentially a rather different kind of episode to those that follow. It can be difficult to get the tone, structure and flow -- and, vitally, the story -- right when you're also trying to introduce the audience to these characters and dynamics. It takes a lot of skill to write a really good pilot, I think.

There are no set rules, though. It depends on the kind of sitcom you're writing. Some reset with each episode, some tell a story across the six episodes. Are all the characters "in place" from the beginning or is episode one a setup episode that shows how X starts working with Y or moves in with Z? If it's already starting in place, then episode one should be the same as any other episode, so it would make no difference.

If you are writing a sitcom that has a specific starting point for episode one (character going off to university/moving into a new house/starting a new job etc), it's often recommended to write episode two first and send that out as your pilot, because then you don't need to worry about how you're moving your characters into position -- they're already there.

Ultimately, though, the important thing is that the script you send out makes sense and makes people laugh. According to the comedy people at the BBC, "funny will get you a long way."

I don't know if any of this rambling has helped, but good luck!

Quote: SnoMan @ 12th December 2013, 12:50 AM GMT

Does it have to include every character?

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Yes.

Just write the best normal episode of that series you can, don't labour setting up the situation, do that as efficiently as possible, get to what would be a normal episode as quickly as possible. If you send out a pilot that would be very different to every other episode, how would the person reading it know what to expect from then on?

I thought one wasn't supposed to write the pilot.
As any reader wants to see if the story will survive beyond episode one, that and the audience will get the situation and characters without needing them to be introduced.

Quote: sootyj @ 12th December 2013, 9:36 AM GMT

I thought one wasn't supposed to write the pilot.
As any reader wants to see if the story will survive beyond episode one, that and the audience will get the situation and characters without needing them to be introduced.

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No, you're fine to write the pilot (I always do), just don't write one that's heavy on all the set-up and will be too unlike what will follow. If it's the type of show that might need that, then sure, work up an episode 2 if it's going to be more representative of the show.

Quote: Matthew Stott @ 12th December 2013, 8:55 AM GMT

Just write the best normal episode of that series you can, don't labour setting up the situation, do that as efficiently as possible, get to what would be a normal episode as quickly as possible. If you send out a pilot that would be very different to every other episode, how would the person reading it know what to expect from then on?

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I've got a follow-up question for that, as I'm quite rubbish at getting to the sit quickly. By what point do people think it's best to get into the situation - halfway through the first ep? Within the first few scenes?

I always try to calm myself by remembering the first episodes of Spaced and Black Books in which the situation wasn't even established until the end of the first ep....but then they were really good, and already known, writers...

I'd say straight away, you can always change it later.

At this point youre not trying to impress an audience of millions, rather one bored reader looking to junk you and get a cup of tea.

So grab them and impress them swiftly and don't tease them.

Quote: sglen @ 12th December 2013, 9:35 PM GMT

I've got a follow-up question for that, as I'm quite rubbish at getting to the sit quickly. By what point do people think it's best to get into the situation - halfway through the first ep? Within the first few scenes?

I always try to calm myself by remembering the first episodes of Spaced and Black Books in which the situation wasn't even established until the end of the first ep....but then they were really good, and already known, writers...

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Well that's the thing, isn't it; there are all these 'rules' that everyone tells you, but then we can all point out lots of shows that ignored them. But as you point out, it helps if you have already made a name for yourself in some way. Spaced is one of my very favourite shows, yet I'm always surprised when I re-watch how setty-up (real word) that first ep is, barely even featuring several of the main characters. It's not the way anyone would advise you to write!

What is the problem you have? Is your stuff very high concept, so there's a lot of leg work to set it all into place? If not, there probably is a way to streamline whatever you're doing.

Reminds of a game Clive Barker set up for 2 of his characters in the Great and Secret Show,

you have to describe any book in one sentence, do a few. I found it helped me cut back on the waffle.

Quote: Matthew Stott @ 12th December 2013, 9:45 PM GMT

Well that's the thing, isn't it; there are all these 'rules' that everyone tells you, but then we can all point out lots of shows that ignored them. But as you point out, it helps if you have already made a name for yourself in some way. Spaced is one of my very favourite shows, yet I'm always surprised when I re-watch how setty-up (real word) that first ep is, barely even featuring several of the main characters. It's not the way anyone would advise you to write!

What is the problem you have? Is your stuff very high concept, so there's a lot of leg work to set it all into place? If not, there probably is a way to streamline whatever you're doing.

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At the moment, the problem seems to be that it's a bizarre concept and I'm ending up using up scenes to explain it. I've changed the idea I'm writing slightly to the idea of 'professional temps' (i.e. work only for money then get the hell out and go on holiday for 6 months) who end up entangled in the mob and are forced into doing back office administration for gangsters.

Which sounds quite weak now I write it down...I like the idea of very mundane things happening in a high-stress and unreal environment and the tension being slackers who have to work for fear of death (although the intention is that they would learn to manipulate their surroundings to their own benefit to some extent as the series continues...)

Anyway, the way it's going, I'm not sure they're even going to meet the mob until 10 mins has already passed, which worries me. I have a tendency to write opening scenes which at best give a very strong idea of character and are usually the joke heaviest part of my writing, but which don't necessarily give any indication as to the 'sit' of the com. This time, it's a portrayal of them flamboyantly leaving their last temporary job, for example.

I probably just need fresh eyes on it really, once I've got a few more scenes down. There's probably loads of ways to economise that have just passed me by!

I think any idea how ever bizarre should be describable in a sentence or it won't work

RED DWARF
4 guys no girls on a space ship heading to earth, one of thems the last human, they hate each other.

PEEP SHOW
The most irresponsible man in the world, in a flatshare with the most anal man.

HEIL HONEY I'M HOME
Adolf Hitler lives next to a Jewish couple.

Quote: sglen @ 12th December 2013, 9:35 PM GMT

Ibut then they were really good, and already known, writers...

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I think this might be the point. As a new writer, your first job is to sell the concept - then they'll read your script to see how you execute it. So as Sooty says you should be able to reduce it to a sentence.

I cannot recommend putting stuff up in Critique highly enough - it does really help. Plus you've been around a while, so you are likely to get lots of feedback. What's the worst that can happen?

Quote: Jennie @ 12th December 2013, 10:09 PM GMT

I think this might be the point. As a new writer, your first job is to sell the concept - then they'll read your script to see how you execute it. So as Sooty says you should be able to reduce it to a sentence.

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Yup, I always go by that rule as well. I'm brilliant at coming up with ideas that can't be put into a sentence, but that's how you know what ideas to scrap (or refine...)

The current sitcom could be just 'Two slackers find themselves working for the mob' - that's probably the simplest concept I've ever come up with (and I'm being serious, unfortunately...)

I cannot recommend putting stuff up in Critique highly enough - it does really help. Plus you've been around a while, so you are likely to get lots of feedback. What's the worst that can happen?

I'll put something up at some point I just want to get it as close to my standards as possible first, otherwise people are going to be telling me stuff I already know. Once I don't know what's wrong with it any more, I'll ask others what's wrong with it

That sentence is great

That sentence is great

Nb theres a big difference between premise and detail.

So for example in peep show premise, irresponsible guy lives with anal guy

Detail, mark fancies Johnson, sophe sleeps with both of them, super Hans is setting up a band etc etc. Changes from season to season, but the premise its self is very simple and doesn't. I think people have to get the premise almost immediately the rest you can be more leisurely with.