What do you think?
Rate this book
Writing the Pilot
Television networks are so desperate for new voices and fresh ideas that for the first time in history they're buying spec pilot scripts and turning them into series. Today's aspiring writer can be tomorrow's showrunner. But it's not easy. Conceiving and writing a pilot that can launch a series is a complex assignment even for a seasoned pro. This book will take you through the entire process, from your initial idea through the finished script. You'll learn how to identify a concept that can carry one hundred episodes or more; how to create characters who will stay interesting year after year; how to design the unique world those characters will live in; how to identify the essential elements that will set your series apart from everyone else's; and most importantly, how to capture it all in one 60-page script. Riverside-Palm Desert's low residency MFA program.
96 pages, Paperback
First published July 8, 2011
158 people are currently reading
379 people want to read
About the author
William Rabkin
42 books77 followersWilliam Rabkin is a two-time Edgar Award nominee who writes the Psych series of novels and is the author of Writing the Pilot. He has consulted for studios in Canada, Germany, and Spain on television series production and teaches screenwriting at UCLA Extension and as an adjunct professor in UC Riverside's low-residency masters program.
William Rabkin has written and/or produced more than 300 hours of dramatic television. He served as showrunner on the long-running Dick Van Dyke mystery series “Diagnosis Murder” and on the action-adventure spectacle “Martial Law.” His many writing and producing credits include “The Glades,” “Monk,” “Psych, “Nero Wolfe,” “Missing,” “Spenser: For Hire,” “seaQuest 2032,” “Hunter” and “The Cosby Mysteries”. He has also written a dozen network TV pilots. His work has been nominated twice for the Edgar Award for best television episode by the Mystery Writers of America.
He has published two books on writing for television, Successful Television Writing (2003), with Lee Goldberg and Writing The Pilot (2011) and five novels. He is the co-creator and co-editor of “The Dead Man,” a monthly series of supernatural action thrillers published by Amazon’s 47North imprint.
Rabkin, adjunct assistant professor of screen and television writing at the University of California, Riverside-Palm Desert’s Low Residency MFA In Creative Writing and Writing for the Performing Arts, has lectured on television writing and production to writers, producers, and executives in Spain, Germany, Sweden, Norway, Belgium, The Netherlands and Brazil. He also currently teaches “Beginning Television Writing” and “Advanced Television Rewriting Workshop” for Screenwriters University.
William Rabkin has written and/or produced more than 300 hours of dramatic television. He served as showrunner on the long-running Dick Van Dyke mystery series “Diagnosis Murder” and on the action-adventure spectacle “Martial Law.” His many writing and producing credits include “The Glades,” “Monk,” “Psych, “Nero Wolfe,” “Missing,” “Spenser: For Hire,” “seaQuest 2032,” “Hunter” and “The Cosby Mysteries”. He has also written a dozen network TV pilots. His work has been nominated twice for the Edgar Award for best television episode by the Mystery Writers of America.
He has published two books on writing for television, Successful Television Writing (2003), with Lee Goldberg and Writing The Pilot (2011) and five novels. He is the co-creator and co-editor of “The Dead Man,” a monthly series of supernatural action thrillers published by Amazon’s 47North imprint.
Rabkin, adjunct assistant professor of screen and television writing at the University of California, Riverside-Palm Desert’s Low Residency MFA In Creative Writing and Writing for the Performing Arts, has lectured on television writing and production to writers, producers, and executives in Spain, Germany, Sweden, Norway, Belgium, The Netherlands and Brazil. He also currently teaches “Beginning Television Writing” and “Advanced Television Rewriting Workshop” for Screenwriters University.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 30 of 72 reviews
May 13, 2014
This is quick read. It's a pretty simple guide to stuff one would want to keep in mind while writing a spec pilot. Rabkin illustrates all of his points with helpful case studies. I'd highly recommend this book to anyone with a series idea floating around in their heads. Rabkin nicely breaks down how to organize those ideas and make them something more tangible.
On a side note, I was frustrated with all the copy errors. I felt like no one edited or even read this book before it was published. Terence Winter blurbs the back and I have to assume he didn't read it. If he did and didn't inform Rabkin about all the copy errors then Terence Winter is a bad friend.
On a side note, I was frustrated with all the copy errors. I felt like no one edited or even read this book before it was published. Terence Winter blurbs the back and I have to assume he didn't read it. If he did and didn't inform Rabkin about all the copy errors then Terence Winter is a bad friend.
May 5, 2017
Well, the book was heading for a 3-star review until the demoralising final chapter. Generally, writing the pilot was a lot of filler and not much killer (I barely made any notes), which in such a slight book is poor form. Saying that, it was a pleasant, interesting read.
However, that final chapter says, in effect, forget trying to pitch your screenplay 'cos no f*cker's gonna read it, so get some cheap ass camera, your rubbish actor mates, and make the pilot yourself. After all you just want to make the thing don't you?
I read this to see if I might book myself onto Rabkin's $399 screenwriting course. Thank God I bought the Kindle book first. What a crock!
However, that final chapter says, in effect, forget trying to pitch your screenplay 'cos no f*cker's gonna read it, so get some cheap ass camera, your rubbish actor mates, and make the pilot yourself. After all you just want to make the thing don't you?
I read this to see if I might book myself onto Rabkin's $399 screenwriting course. Thank God I bought the Kindle book first. What a crock!
July 20, 2014
I hardly want to count this as a book since it's so short. I feel like the book provides very generic and generalized information without actually bothering to teach any skills. So, if you already know this stuff, this book isn't for you. At the same time,if you don't know any of this stuff, this book isn't for you. Maybe it was a bit of a money grab. Bummer.
March 1, 2019
Rabkin deftly deal with the two most important concepts for a writer to understand.
1) You are never going to sell anything. Let's face it, the NBA has, what, 35 job openings every year. Studios have less than that and if you don't know someone, you're not getting in the door.
2) The Mechanics of Story Telling. Look, the deck is stacked against you. Deal with it. Success happens when Preparation meets Opportunity. Just because you aren't likely going to sell your TV script (this is Writing the Pilot, after all) doesn't mean you shouldn't learn how to write one, that you shouldn't write the best damn pilot script you can. Because maybe, just maybe, lightening will strike and you'll have something, a calling card, a printed work that people can look at and marvel at the brilliance of. But you have to learn to write first because, really, learning to tell a good story is a reward in itself.
As with anything, there has to be a passion there if you truly want to pursue it. I say this not to discourage you but to prepare you for the hard work ahead and, hopefully, the satisfying joy of a victory hard won.
Rabkin does, I think, a good job of driving key points home whilst "keeping it real" as they say. His style is straightforward, conversational tone (switching between first person "I" & second person "You" at whim) - something I rather appreciate. The verbosity of scholars is often troublesome and tiring, they wax on, ad infinitum, saying the same thing, over and over again, leaving you with the feeling that you have read so very may words that you have now begun to lose the thread of what the conversation was about, which can be both troublesome and tiring, this scholarly verbosity - just so many words to say so little. Rabkin, thankfully, avoids this sort of self appreciation in favor of taking up the mantle of teacher and guide. Definitely worth a read if you have even the slightest interest in maybe, one day, writing a Television series.
1) You are never going to sell anything. Let's face it, the NBA has, what, 35 job openings every year. Studios have less than that and if you don't know someone, you're not getting in the door.
2) The Mechanics of Story Telling. Look, the deck is stacked against you. Deal with it. Success happens when Preparation meets Opportunity. Just because you aren't likely going to sell your TV script (this is Writing the Pilot, after all) doesn't mean you shouldn't learn how to write one, that you shouldn't write the best damn pilot script you can. Because maybe, just maybe, lightening will strike and you'll have something, a calling card, a printed work that people can look at and marvel at the brilliance of. But you have to learn to write first because, really, learning to tell a good story is a reward in itself.
As with anything, there has to be a passion there if you truly want to pursue it. I say this not to discourage you but to prepare you for the hard work ahead and, hopefully, the satisfying joy of a victory hard won.
Rabkin does, I think, a good job of driving key points home whilst "keeping it real" as they say. His style is straightforward, conversational tone (switching between first person "I" & second person "You" at whim) - something I rather appreciate. The verbosity of scholars is often troublesome and tiring, they wax on, ad infinitum, saying the same thing, over and over again, leaving you with the feeling that you have read so very may words that you have now begun to lose the thread of what the conversation was about, which can be both troublesome and tiring, this scholarly verbosity - just so many words to say so little. Rabkin, thankfully, avoids this sort of self appreciation in favor of taking up the mantle of teacher and guide. Definitely worth a read if you have even the slightest interest in maybe, one day, writing a Television series.
January 7, 2022
Speaking as someone who has read a handful of movie-oriented screenwriting books but is just now reading their first book on television writing, I thought Writing the Pilot was a valuable little primer on the big-picture concepts to keep in mind when writing your pilot. It was just the right length and depth for me, but I imagine it would seem simplistic to anyone with more experience in TV writing.
Having been published in 2011, it definitely feels dated in 2022. But a lot of "what works and what doesn't" still hasn't changed. Rabkin's references span from the 1960s to the late 2000s, which still covers a lot of quality television and learning opportunities. If, like me, you're just looking for a place to start with TV writing, this ain't a bad choice.
Having been published in 2011, it definitely feels dated in 2022. But a lot of "what works and what doesn't" still hasn't changed. Rabkin's references span from the 1960s to the late 2000s, which still covers a lot of quality television and learning opportunities. If, like me, you're just looking for a place to start with TV writing, this ain't a bad choice.
April 2, 2019
This slim volume is packed with great advice that every aspirational TV screenwriter needs to read before writing their pilot script. Just some really good tips about making sure your idea is good for a TV series vs a movie, knowing what your story engine is, understanding character development and making sure you have the central theme and conflict of your series defined.
Rabkin's examples are all good and relevant. His writing style is breezy and enjoyable. 100% recommend.
Rabkin's examples are all good and relevant. His writing style is breezy and enjoyable. 100% recommend.
March 6, 2017
This book pointed out a lot of interesting things to think about if you're interested in scripting a pilot for a TV series or even just interested in analysing why a particular television series succeeded or failed. I really enjoyed his points about having a central conflict that can drive the show for seasons and the kinds of pilots there are and how to decide which type to have.
But I feel like he kind of buried the lede: in the first chapter he's basically like, in past books (including his own) people always said it was impossible to get a pilot accepted without extensive experience and connections in the industry. But that's changed! Networks are now buying spec pilots! So I'm writing this book to let you know how to do it. Then in the last chapter, he's like: you still need to either have a really compelling life experience so they contact you, or you have to go film it yourself. Wat.
But I feel like he kind of buried the lede: in the first chapter he's basically like, in past books (including his own) people always said it was impossible to get a pilot accepted without extensive experience and connections in the industry. But that's changed! Networks are now buying spec pilots! So I'm writing this book to let you know how to do it. Then in the last chapter, he's like: you still need to either have a really compelling life experience so they contact you, or you have to go film it yourself. Wat.
August 13, 2011
"Writing the Pilot" is entertaining and jam-packed with useful information. He writes with a casual, humorous, and knowledgeable voice that sets this book far apart from other screenwriting books. It's like having lunch with a good friend. But don't mistake that light touch for a lack of depth or academic value. His detailed analysis of what makes a great pilot...vs what makes a great opening episode for a series...is simply brilliant. And his indepth analysis of the pilots for "Fast Forward," "Life on Mars" and "Fringe" are particularly smart and insightful. He gets personal, too. He deftly uses examples from his own successful TV career to illustrate the thought-process behind developing and writing pilots (and candidly discusses some of mistakes along the way and what he learned from them). Spec TV pilots are all the rage right now and his book couldn't be more timely. If you want to get into the TV biz, or if you are a veteran TV pro struggling with pilot-writing issues, "Writing the Pilot" is a must-read.
January 24, 2015
This book doesn't cover everything about the writing of a pilot, but it gives a very big step forward in getting started. It mostly focuses on the process and key things to do in prepping yourself to write, but doesn't get into too many specific writing tips. All of the advice seemed really valuable, and there were quite a few pieces that made me want to think about how I've been approaching writing to see if I'm doing it Rabkin's way or not. There were definitely a lot of things to try, and I'd recommend this book to anyone interested in writing an original TV series. This book gives you a lot of great advice (from someone who's done it) on how to go about writing the pilot.
If you're looking for a writing book that gets into immense details for how to write, this isn't the book. If you're looking for a book that helps you figure out how to approach writing a pilot and how to get started, I'd definitely recommend this book.
If you're looking for a writing book that gets into immense details for how to write, this isn't the book. If you're looking for a book that helps you figure out how to approach writing a pilot and how to get started, I'd definitely recommend this book.
September 20, 2016
Riddled with typos and cliches, this book (more like a pamphlet that was probably dashed off by the author in a single weekend) could only be useful to the most inexperienced writers, who have never before considered the basic principles of storytelling, like conflict and character. The ideas here are simplistic, the tone is irritating, and the take-aways are muddled. Particularly useless is the fact that the main case study the author uses is for a pilot he himself wrote that was 1) never produced, and thus not exactly worth imitating and 2) adapted from an existing book series, and thus not even concerned with coming up with original material. If you've been handed an entire book series, your concerns as a writer are probably very different from someone trying to realize an original idea of their own.
July 6, 2017
Typos and glaring questions aside (Alfie is an FBI agent that doesn't speak a second language?), this succinct introduction to conceiving and executing an original tv pilot is chalk full of relevant, useful examples. Yes, it's half a shameless pitch for a previously passed-on television series, but Rabkin uses the other half to offer contemporary advice for the aspiring small-screen writer. He may refer to young women as "girls" and poo-poo the storytelling structure of--personal fav--Veronica Mars, but Rabkin's suggestions adequately spark.
May 22, 2013
A nice quick read to keep one's head in the game. Provides a good lens for looking at how other pilots were built and the elements that go into them. Nothing world shattering unfortunately. Even so, it helped me clarify some of the problems I've been having with my pilot. Glad it was free through the Kindle Lending Library.
October 27, 2017
This book gave some good advice. Emphasis on "some." 90% of the advice it gave was pretty bad, and the writing felt very dry.
If you're writing a pilot, pick up one of the countless other books out there instead.
If you're writing a pilot, pick up one of the countless other books out there instead.
October 4, 2016
Extremely helpful and succinct. I found a lot of the advice relevant to novel writing as well as television writing. Will definitely be hanging onto and referencing in the future.
September 30, 2019
Entertaining read. Good information to think about before you set out to write a pilot. BUT if you’re looking for a book that will teach you how to write a TV screenplay, this isn’t it.
February 1, 2024
A really fascinating read that combines very current analysis of the TV and streaming entertainment market from the POV of a writer for those markets. Rabkin weaves this analysis with thoughts on how best to structure and write content that works for those markets. Rabkin tells how a writer should structure their spec scripts for modern TV markets to make those scripts both work within normal screen wrting conventions but also how to do so while workin with the unique qualities of the modern streaming market.
For an outside it was a fascinating read and I will be seeking out his other works
For an outside it was a fascinating read and I will be seeking out his other works
November 27, 2018
This book offers great insight into the psychology behind crafting a TV pilot that will sell. It's more philosophical. A big picture concept book vs. something that gets in the weeds. However, if you're looking for a TV writing guide that gets into specifics (i.e. formatting, acts, plot points, etc.), this isn't the book. It's a solid intro to the industry and the essential elements of any good show. But when it comes to actually writing your pilot, you'll need another resource to complement this one.
January 4, 2022
Gave me some really good ideas/advice for writing a pilot. The advice is slightly dated at times (the book was published in 2011) and the industry, in my opinion, has changed since the time of writing, but much of the advice is still relevant. The only thing I wish this book had was a sort of paradigm about how the beats of a pilot or a tv show are broken down. Other than that, it was a very helpful read.
February 7, 2020
Five Stars for the last chapter alone.
(Summary: "No one is ever going to read your pilot. Best case scenario, they will meet with you for some other reason, something that has absolutely nothing to do with your idea, if and only if you are ruthlessly creative and mercenary in bringing that other reason to fruition.")
((as a genre study, the other chapters were quite useful also))
(Summary: "No one is ever going to read your pilot. Best case scenario, they will meet with you for some other reason, something that has absolutely nothing to do with your idea, if and only if you are ruthlessly creative and mercenary in bringing that other reason to fruition.")
((as a genre study, the other chapters were quite useful also))
September 6, 2021
Really good.
Brisk read.
WORTH THE TIME (our most precious asset).
All you need to know, right?
Fresh.
Inspired all sorts of ideas.
My copy is drenched in highlighting and scribbles, lots of folded over page corners. It's a beat up mess ;-) as any well-loved book of mine is.
I will definitely read it again.
What more could I say?
Brisk read.
WORTH THE TIME (our most precious asset).
All you need to know, right?
Fresh.
Inspired all sorts of ideas.
My copy is drenched in highlighting and scribbles, lots of folded over page corners. It's a beat up mess ;-) as any well-loved book of mine is.
I will definitely read it again.
What more could I say?
January 13, 2024
Kort och informativ. Författaren har en trevlig ton som är lättläst även om boken är på engelska. En del serier är lite daterade (personligen för mig) men han förklarar så ingående vad han menar med varje påstående att det spelar egentligen ingen roll om man har sett serierna han pratar om eller inte. Rekommenderar.
December 27, 2017
This booked was an easy read and offered some basic insight to writing a pilot. It is more specifically geared towards writing for a drama series but the information could easily be carried over into writing for a sitcom.
May 3, 2018
Good insight.
He has great information but sells the book short in that he has no suggestions, just passing on information he has gleaned professionally. Good but not great. Worth a read though.
He has great information but sells the book short in that he has no suggestions, just passing on information he has gleaned professionally. Good but not great. Worth a read though.
April 14, 2019
Solid insight and money worth spend
Read it. It will help you my fellow writers. Great examples, great depth but very concise. Thanks for the author that I gave learned so much from you. I will make a spec video!
Read it. It will help you my fellow writers. Great examples, great depth but very concise. Thanks for the author that I gave learned so much from you. I will make a spec video!
July 22, 2019
I thoroughly enjoyed this book. Enlightening, entertaining, and inspiring. Also critically honest and real, even to the point of the last piece of advice being one that many “writers” would shudder at. A must have.
August 25, 2019
Good high level look at what helps any kind of series
This was an interesting and informative look at key points that can help any kind of fictional series, whether in videos or the pages of novels, work well.
This was an interesting and informative look at key points that can help any kind of fictional series, whether in videos or the pages of novels, work well.
October 23, 2019
Very thin in terms of how-to content, and it has become a bit dated at this point. I still ask my students to read it, though, because the bones are good. Still much to learn from it about TV writing.
June 13, 2020
It's not a book that tells you everything you want to hear. But, there are excellent pieces of advice and great examples.
If you want to improve your writing and understand some of the underlying principles that a successful television series uses, this is a great place to start.
If you want to improve your writing and understand some of the underlying principles that a successful television series uses, this is a great place to start.
March 28, 2021
Some useful advice about conflict, characters and how they intersect within a pilot/series - but this felt quite dated. But perhaps that's to be expected to an extent, given that it is 10 years old and TV has changed a lot in that time.
June 29, 2022
The perfect little book to jumpstart my pilot-writing process. Gives an overview of what made some pilots great and others not so great, helpful fo avoiding pitfalls. Might not be great for those experienced with TV writing. Packs a punch regardless!
Displaying 1 - 30 of 72 reviews