Television and Animation FAQ

TELEVISION WRITING & ANIMATION FAQ

Q: I am an the process of preparing a pitch bible for 52 X 11 animated series and I wanted to know if there is a format or process to prospect advertisers to get them on board. I would definitely be beating the odds if I have an advertiser already.

A: I've never done it that way nor have I heard of anyone else successfully "recruiting" advertisers in order to sell an animated project. That's just not how it's done. The usual method for getting a show on the air is to do a pitch bible (character designs, descriptions, etc.) and then set up pitch meetings at the various networks such as Nick or Cartoon Network (which is infinitely easier if you have an agent). So, to answer you question directly, no. I am unaware of any format or process that is used to "prospect" advertisers.

Q: I'm trying to send my animation proposal to Disney. Since i don't have an agent, I was thinking about having my friend's name on the outside of the package as my manager just to get my material in the door. If Disney is interested, then I'll get an agent to take it from there. Does this sound like a reasonable idea?

A: This DOES NOT sound like a reasonable idea and I would strongly advise against using that tactic. Focus more on getting an agent rather than submitting directly to studios. If your scheme is exposed (and it will be) you'll completely blow any chance of making a contact at Disney. The people at the studios who take pitches know just about all of the animation managers/agencies and have strong b.s. detectors. They'll spot this one coming a mile away.

Q: (With regard to a writing sample) I noticed that the Fairly Odd Parents cartoon is 11 min's per episode. How many commercials are there during those 11 min episodes?

A: It's more instructive to look at it as the full half hour (2 - eleven minute episodes, and the rest of it commercials and credits. When writing an eleven minute sample episode, you don't need to worry about the commercials, just write the episode (18-20 pages, screenplay format).

Q: What suggestion would you give someone who is trying to submit a proposal to talent agencies?

A: I don't have much expertise in the area of proposal/treatment submission. All of my submissions have been fully written scripts sent to the studios through literary agencies. In general, I do know that you have a lot more in your favor if you have a script (presumably a good one) that you can shop around. Feature "idea men" don't carry much weight out here as a studio is far less likely to buy an idea (thus, an agency is less likely to want to represent an idea/proposal because they can't smell the cash). I'm not saying that it's never happened, just that it would be an even bigger longshot than selling a spec script -- especially for someone without a track record. In short, they want scripts, not proposals.

Check out Syd Field's "Selling a Screenplay: The Screenwriter's Guide to Hollywood" for a good idea of how things work in the biz. His chapter on "Agents and Agenting" is brutally candid. In it he says, "'But I've written a treatment', people say. 'Can't I get an agent with a treatment?' No. You can't sell anything with a treatment. You need a screenplay to show as a sample of you're screenwriting ability. Whoever says otherwise doesn't know what he or she is talking about." I have to agree with Syd.

Q: I have a teleplay. I've heard there are different formats for scripts. My format consist of the heading, dialogue, and description being 1.25 spaces from the left edge of the paper. The character names above their dialogue are the only things I indented. My page numbers are at the bottom right of the paper. Keeping in mind that there are different formats for scripts, is my format correct?

A: There are two main script formats -- sitcoms and screenplays. With the exception of "act breaks" (the annoying advertising part that pays for everything), the hour dramas are usually written in standard screenplay format. In this format, the margins are small, the dialogue is indented from the action description, and the character names are centered over the dialogue. Sitcom scripts are similar but the margins are wider and the dialogue is double-spaced.

I would recommend that you find a show that is similar in style to your teleplay (half-hour comedy, etc.) and then set about getting a copy of the script for that show. There are various online resources, some might even be free of charge. In order to be taken seriously, you should make your script look like this script from an existing show -- one that was generated by a professional.

Another thing you might want to consider is purchasing some script writing software. These contain script templates for many kinds of television and film scripts and even things like plays, novels, and radio scripts. I have used both "Movie Magic Screenwriter 2000" and "Final Draft". Final Draft seems to be more popular amongst professional writers, but both are good. These applications can be kind of pricey ($100 - $200+) because of their narrow appeal (professional writers) but I found they seriously increase my productivity and so are worth every penny.

One more thing; the page numbers go in the upper right hand corner.

Q: Do you know of any networks looking for 5 minute animation shorts? Would i get paid if i got my animation short played on t.v.? Is it common for an animation show to look to the public for new characters? What about the slamdance teleplay competition? They offer a chance to create a new television pilot for the first place winner. Is this one way for a person with a new show idea to get his or her show on t.v.? If so, what if i won the first place prize, eventually got my animation show on fox,but i didn't want to be a writer on my own show because i didn't have enough ideas for that many episodes. How else would i get paid? Can i get payed royalties just for it being my creation or would fox try to buy me out? Lastly, i have a half hour script i want to sell. I heard the minimum price payed to a writer on a half hour show is $20,956 according to w.g.a. standards. So i figured i'll sell my half hour animation script for that price. Is that a fair price?

A: Wow. I think you've set a new record for "Most Questions Asked in a Paragraph"! I'm afraid I don't know much about the world of animation shorts other than to say that they make a great components of an overall show pitch. In other words, if your short was something that contained characters and situations that could easily be converted to television sensibilities, it (along with a show bible, character designs, storyboards, etc.) would be a very powerful part of that pitch. I once had a project put into development based on a mock fifty second opening title sequence that my partners and I commissioned. Check out my FAQ section for questions relating to show pitches for more detailed tips.

I'm not sure about the legalities involved in selling such a project. You might want to try contacting an agent who specializes in animation to get your info. I do know that with the exception of the big prime time shows like "The Simpsons", most animation is non WGA (even features!) so I'm not sure how helpful it is to compare live-action Writer's Guild minimums to the MUCH smaller sums paid to writers working under the umbrella of TAG (The Animation Guild).

Q: How does one go about writing for children’s television?

A: As a grizzled veteran of the showbiz wars, I am sorry to report there are as many ways to get into animation writing (accidentally or on purpose) as there are ways to get into a San Pedro bar fight. There are many paths and a lot of them are overgrown with weeds and hard to find. Unlike in the real world where you go to school, get a degree in something, and then have a reasonable chance of getting a job in that something, careers in animation (and entertainment in general) seemed to be fueled by an often imbalanced combination of sheer luck, perseverance, and talent. Oh, and knowing someone that already has a job in your targeted field helps too. A few tips to point you in the right direction:

1) Personal contacts. If your area college offers classes in entertainment related writing, this would be a good place to start. Classmates with similar interests and goals often end up in a position to help each other. Also, network with any friend or acquaintance who works in the industry. Even if they're not working in your specific area of interest, they might know someone who is and can introduce you or pass on a script. I know it all sounds kind of mercenary, but it's a hard truth. I'm not saying to "use" your contacts (this will quickly gain you a reputation as an annoying leech), just let it be known that you're looking for animation writing gigs and would appreciate a "heads up."

2) Be ready to back up your networking by having a writing sample (or two or three) ready. These serve as your currency in entertainment writing. When you do end up making contact with someone who counts, they'll ask, "What have you got to read?" Sitcoms are the common choice in this area (yes even in animation). I think producers like them because they aren't as long and involved as screenplays and are a quick gauge of whether you can handle character and dialogue (my expertise is in the "funny" shows, I don't know what kind of scripts they read for the action cartoons). I recommend having several samples as a particular producer might have a particular dislike for a particular sitcom. Also try not to pick one of the "big" sitcoms. Even though "Friends" was a very popular show, producers were sick of reading samples for it because everybody and their uncle had written one. A popular up and coming show that looks like it has legs (will last a while so you don't have to write another sample right away) would be a better choice. Get a production copy of a script for the show you are writing and make sure your script is formatted to look EXACTLY like theirs. Deviation from the accepted format brands you instantly as an amateur and your script will be tossed. There are script sources on-line and in your local bookstore.

My experiences as a writer of "Histeria!" illustrate some of the above. I was an actor at the Groundlings Theater. Just to keep busy, I wrote a couple of sitcom specs. It turns out that the producer of Histeria was a Groundlings fan and put out word through their grapevine that he was looking for writers. I followed up on the lead, sent over my specs, responded positively when they ask me to write a couple of trial historical sketches (for which I was paid), and got the job. It turned into a two and a half year gig. Could I have planned it? No. I was ready for the opportunity when it came. I hope this helps you or at least gives some food for thought. When you do end up being a showbiz big shot, don't forget to throw your old pal Roger a bone (networking!). Good luck!

Q: I was watching Laurel and Hardy, and they did an auction bit. Ollie was sitting next to Stan. Ollie was selling the item in question, and he was watching the price go up up up -- wonderful! He didn't see that it was Stan running up the price. OK: This is a great bit. I'm amazed that I've never seen a situation comedy re-use it. Something tells me that these writers only know what's on TV now and in the last 25 years, but that's it. If you can shed any light on this I'd greatly appreciate it. Also, if I'm wrong please tell me! I'd be very interested to know that many writers are also comedy historians.

A: The problem modern day sitcom writers have coming up with bits like that (whether original or "lifted") is the current emphasis is primarily on the verbal joke and the improbable situation. A subtle and largely visual gag like the auction bit just doesn't play around "the table" where sitcom writers do verbal battle to see who can come up with the "funniest" (often meanest) dialogue or wackiest situation. Remember, Laurel and Hardy both started in the silents where the visual gag was the only game in town (and "dialogue" was relegated to the occasional art card). Also, although there are a few of us "comedy historians" working in the biz, in my opinion the vast majority of the staffs today are composed of tenderfoots with little or no knowledge of the comedy greats from early film, radio, or even television (Ernie who?). They simply don't have the tools and depth of knowledge (or perhaps even the courage) necessary to craft a "moment" like the one you mention. "Boring!" or "Corny!" would be the assessments of such a bit pitched to producers and writers who specialize in sitcom-style attack dialogue. I have one friend who refuses to write a sitcom spec script for fear that he might (gasp!) get a job writing on one. He detests, in his words, "insult comedy." I don't share this fear (bring on the verbal barbs and large salary!) but if you think about it, he's kind of right. The rhythm of ordinary sitcom dialogue is setup/insult /setup/insult/setup/insult...ad nasueum. There are a few good sitcoms out there but Stan and Ollie and what they represent in terms of heart and humor are just a little too subtle for the room these days. A shame, really.

Q: I was wondering what I would need to do to submit an original TV show idea to a TV station. I went to a few websites for the bigger stations like NBC and FOX. For protective reasoning they won't look at an idea/script unless it’s forwarded from an agent. Do I have to get an agent or are they're other ways? I know thousands upon thousands of people submit ideas all the time what must I do to even have a chance of having them even look at my idea?

A: Unless you're pals with a network president or show runner (a producer trusted by the network to come in and take an idea from pitch to production), the ONLY way to get a show idea into the network machinery is through an agent. And then there's the challenge of signing with an agency that has enough "juice" to get your idea the reading it deserves. There are many small and/or underpowered agencies that have a hard time getting the attention of the proper people. An online search should tell you who the major players are in the agency arena (William Morris, ICM, etc.). Start with the big boys and work your way down from there. Some writers will caution you against the large agencies, saying that you can get lost in their vast caverns. While that may be true, my thought is that unless your small agency is extremely well-connected, no one pays much attention to them.

Before you start submitting, make sure you have a clearly laid out written treatment of your idea. No more than a page or two, it should be written in a concise manner that clearly states structure, format, characters, etc. If your idea is a sitcom or hour long drama, you should also have a sample spec script (of your original show and/or another existing show -- I'd write both) available. The agency will ask for this. They don't tend to sign "idea people" (who are a dime a dozen) but rather, writers that they can try to put on staff somewhere (and make their 10%). For animated stuff, you can drop the show runner and go directly for an agent (that specializes in this area). With an animated project, you should develop a “mini-bible” (a document that can be anywhere for 5-15 pages and includes: series concept, description of world or setting, character descriptions, and 10, one paragraph story premises).

If an agency likes your idea and spec script, the scenario might go like this:
They sign you.
If it’s a network show, they team you up with a show runner (who is always a client of theirs).
The show runner goes and pitches the idea to the networks (you might be there, but probably not).
The network expresses interest in the idea and your agent works hard to get you a "created by" credit (the show runner will jealously want this credit for themselves as it directly translates into cash), and/or a staff writing job (most likely to happen).
If your idea is for an animated show, your agency will start setting up meetings with the various animation studios and you will go in yourself to pitch to one of their development executives.

Q: What advice would you give a new screenwriter trying to break in? I have written one screenplay and am finishing my second.

A: All of my credits are in television (animation with some live-action) and children's books so I don't know if I'm the right person to ask. I think it was Lawrence Kasdan who said that it took him about ten screenplays before he figured out the format and started to get some interest (if it wasn't Kasdan it was someone of equal talent). With that in mind, I guess my advice would be to keep on cranking it out, then eventually (when you think your skills are up to snuff) submit your work to agencies with literary departments. I suggest a trip to your library or bookstore to find a book with tips on how to get an agent.

Q: Will you read and/or critique my television script/film script/children’s book/show idea and pass it along to your agents and/or influential showbiz types?

A: No. Sorry, I have to be blunt on this one. Since I'm an active writer out there pitching shows and premises, I can’t accept "unpublished" writing samples from "strangers". If you were to send me some of your writing that by coincidence was even mildly similar to one of my "in progress" scripts, books, or a show proposal I was already pitching...that could be a problem. Check out other questions in my FAQ that deal with taking classes, writing samples, and "networking". Taking a writing class at your local c.c. or forming a “critique club” (sounds corny but they do it all the time in children’s literature) with like-minded pals is a great way to get feedback on your writing. By the way, reputable studios or production companies won’t accept original scripts, treatments, or show ideas unless they come from an agent or are accompanied by one of their own release forms.