Writing the Pilot: Creating the Series

by William Rabkin

When I finished Writing the Pilot a few years back, I figured I’d managed to cram everything I had to say on the subject in that little 90-page package. But that was 2011, and in the years that have passed, a lot has changed about the television business.And when I say “a lot,” I mean everything. The way series are bought. The way series are conceived. The way stories are told. The way series are consumed. The kinds of stories that can be told. The limitations on content at every level. The limitations on form at every level. And maybe most important of The restriction on who is allowed to sell a series.What’s far more confusing about the future is that there are as many changes in the business models for “broadcasters” out there, and no one knows which ones will prevail. And the changes in the delivery model are actually affecting the way our viewers watch our shows – and that in turn is affecting the shows that are being bought and produced. It turns out that we approach a series differently if we’re going to binge an entire season in three days instead of taking it week by week. And while you might leap to the conclusion that this only applies to shows produced for Netflix, that’s actually not true – the market for syndicated reruns on independent and cable channels is mostly dead, and the afterlife for almost every drama currently produced will be on a streaming service. So in those cases you are writing for two completely different audiences.And this is only the beginning of the forces that are changing the ways stories are told on television these days. Who could have guessed, for example, that a change in the way networks count their viewers would result in a huge acceleration in the pace of storytelling? Or that an overabundance of outlets would lead to a complete liberalization of the kinds of stories that would be allowed to serve as foundation for a series?TV drama storytelling has been changing constantly since the turn of the millennium, but the pace of that change seems to accelerate with every passing television season – except that there really isn’t any such thing as a television season anymore. Series are getting bigger and faster – and also slower and smaller. A hit show from even five years ago can look hopelessly dated in this new world. And the only thing that’s certain is that everything is going to keep changing. Well – almost everything. Because the one constant in this new television world is the need for great writing. Strong concepts, rich characters, intriguing plots. And more even than great a voice. There’s a desperate hunger out there for a fresh, original vision, something that can cut through the clutter of all those hundreds of other shows out there.But in order for that voice to be yours, you’ve got to understand how TV writing has changed – and what it may be changing to. That’s why I’ve written this book. I believe that almost all of what I said in Writing the Pilot still applies, but right now it feels there’s a lot to talk about that wasn’t even a fantasy back in 2011. This book is about addressing the changes that have overtaken the TV business – and more importantly, have overtaken TV storytelling. I’m going to be talking about all the changes I listed above, and how they may – how they must – affect your pilot.In many ways, this is the greatest time in the history of our art form to be a TV writer. There are no limits to the stories you can tell or the ways you can tell them. But beneath what appears to be a market in chaos, there are still rules that guide our storytelling – and you can’t get into the game before you master them.

Genres: Writing, Nonfiction

210 pages, Paperback

Published May 9, 2017

About the author

William 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.

Reviews

[James Andrews · Rating 4 out of 5]

This is a great follow-up to Writing the Pilot, which I thought was packed with simple but invaluable pointers for writing an engaging television pilot. Creating the Series applies the same philosophy to setting yourself up for several seasons of a series. Not even the most accomplished TV writers are able to plan ahead for a perfect five-season arc, but they know how to plan a series with the right mix of characters and themes that will pay storytelling dividends down the road, past all the twists and turns they can't even see coming yet.

Most importantly, Creating the Series synthesizes the huge transformations that the TV series format undertook in the six years between when the first book was published (2011) and when this one came out (2017). The rise of the streaming services has opened up so many more opportunities for series that don't fit the traditional big-network formula, and Rabkin inspires you to see that variety as a big opportunity. A good percentage of series get produced each year with pilots that clearly don't plan ahead in terms of character development and theme, so just think of the leg-up your script could have if it does plant those seeds from the start.

[Kate · Rating 3 out of 5]

Well, I have to admit I was a bit disappointed in this, after having read Rabkin's "Writing the Pilot".

First, it's doubled spaced. Who, besides a doctoral student publishing their thesis, double spaces anything? This a) made it really hard to read and b) was a blatantly obvious ploy to increase the size of the book. The original "Writing the Pilot" was a very slim, tight volume and I thought it provided value for $$. So not sure if this was Rabkin's idea or his publisher, but it was a terrible idea.

Second, the last 20 pages (of an already padded book) included his treatment of his pilot and series that has not yet been optioned. I didn't care for it or its inclusion. Unnecessary.

Third, I felt this book had a bit of a tone. That a) we were a bit chumpy for buying another book of his (which I feel) and b) we deserved to have him kick our ass a bit. This was evidenced by his EXTREME GLEE in revealing about a dozen plot spoilers for different TV series in the course of a page and a half. Like, psychopathically gleeful. A bit "fuck you" IMNSHO.

That all being said, Rabkin is smart and insightful and experienced. His observations about writing for streaming services were appreciated. And when he linked a point to a real experience or story he had - really well done. But it feels like he angry-wrote this after losing a bet. So, maybe check it out of the library.

[Jason Bornstein · Rating 3 out of 5]

I expected to be given more concrete, structural elements on the actual writing process but instead was given a very nice pep talk by the author. You won't exactly be writing anything after reading this but it does offer some insight on the process.

[Angela Breidenbach · Rating 4 out of 5]

I found the information in Writing the Pilot: Creating the Series very good and very helpful. I understand much better what I'm working on for my own pilot. However, I'm concerned with the formatting of the book. It's very hard to read with the double-spaced prose, enlarged indentation, no table of contents, and lack of interior design. There's no title page or chapter page design. Really odd! I'm concerned that either the author self-published without understanding how or someone pirated his work. But I searched for other versions without success, and it looks like the manuscript (which for turning into a traditional publisher is 12 point Times New Roman, 1" borders, .5 indent, double-spaced) was simply uploaded without being designed for print. Though authors turn in their manuscripts to the above specifications, they never are published from that format. I'd love to know what's going on with this book. The front cover and back cover could use an overhaul. I have to give it 4-stars for the material, and that it's well-written with only a couple of minor grammar and word errors. But, the formatting makes it difficult to digest. I looked at other material by Mr. Rabkin and I don't see the same formatting issues. I hope Mr. Rabkin will republish this book with better interior design. He has such good advice and is insightful with his comparisons on why certain shows succeed in television. I look forward to incorporating his wisdom.

[Colby Rice · Rating 5 out of 5]

This book is EXCELLENT!! A perfect follow up to his first book, “Writing the Pilot”.

As usual William Rabkin drops the deepest and hottest knowledge on you regarding what exactly is going on in this crazy TV industry (that I LOVE!!) AND on how to help your idea rise to the top. He gives you a lot of wonderful insight without making lofty promises about your chances of getting a project sold. He is raw and real, but also helpful, and i love that.

I would recommend this book especially for indie TV writers, directors, and producers who want to understand how the industry is changing, but who do not want to wait for the industry to open up to them, and who still want to write a really amazing quality TV series that is giving audiences exactly what they’re looking for. Between this book and his last book (Writing the Pilot), I have been able to create a really excellent TV series and TV Bible template that I will use to develop independent TV projects in the future. I highly recommend both this book and the former book in this series.

[Dan · Rating 4 out of 5]

Better examples than his previous book

He has really good information but he's a little lazy about the teaching process. I am sure he'd easily say something to deflect that but since I would recommend the book he'll be fine with it. Good read. Also his NASCAR example is fantastic. But he really needs 3 solid examples.

[piratesPencil · Rating 4 out of 5]

A quick, concise and effective guide to writing for TV - specifically for modern TV, which is important in a time when streaming services have totally changed how TV is consumed and written. This is both an interesting look at how TV has changed recently, and a pretty good guide to writing for TV, too.

[Jilles · Rating 4 out of 5]

Very interesting book about how TV has completely changed in the last 10 years and how that effects writing for it.

[Patrick Greene · Rating 2 out of 5]

Two stars but very good

At least he put out a very good pilot example just to pull viewers in. I liked that interesting idea.

[Dago Campo · Rating 5 out of 5]

Love it


Getting into writing a tv show is all easy until you read this book and you realized that there's more than that

[Andrea Jean · Rating 5 out of 5]

Very nice starter book. I will definitely reread. I learned a lot! Thank you!

This was very straightforward. Clear and dense with information. I found it entertaining also. I don’t have much of a profession opinion but beginners might enjoy.

[Willo Johnston · Rating 1 out of 5]

An extended blog post - that's already out of date.

[Kareem · Rating 3 out of 5]

One of the very few books on the subject I felt i actually learned a lot from.

[Raymond · Rating 4 out of 5]

Having read the first volume about a year ago, this felt like a true continuation of the lessons introduced there—building upon them while adapting to the ever-changing landscape of television writing.

One of the most fascinating aspects is Rabkin’s willingness to critique his own past insights. He openly acknowledges how much has shifted in the industry since Volume 1 was published in 2011, which makes for both a reassuring and terrifying read for aspiring TV writers and showrunners. It’s a reminder that adaptation is key, but also that even the most established wisdom can evolve.

When it comes to the actual process of pitching, creating, and marketing a television series, Rabkin delivers. He provides readers with more than enough to get the ball rolling, making this an invaluable resource—especially if you’ve read the first volume.

For anyone looking to break into the business, this is a must-read.