If you’ve ever wondered how the inner workings of a screenwriting contest work, you’re not alone. While writing is hugely subjective, there are some universal truths that have been accepted industry-wide about what helps make up the magic of a good script. One that’s strong enough to place in a contest, like Shore Scripts TV Writers Mentorship Program.
Here, we’ll explore what makes a script stand out while reading for our TV contest – not the usual advice on plot or structure you’ve seen a million times, but the tangible ways you can make sure your script is presented in the best possible way for your story to shine. Let’s dive in.
Make Your Script Formatting Bulletproof
Making sure your pilot is formatted in line with industry standards is essential to making a good first impression on your reader. It tells them that you’ve done your homework and keeps their focus on the more important element of your script – story.
This is especially relevant to TV writing, where formatting can get pretty specific. For example, a 1-hour drama script with act breaks typically opens with a cold open and is followed by 5 acts, whereas a ½-hour sitcom starts with a teaser, is followed by 3 acts, and often ends with a ‘tag’ (a final gag or character moment that ties up the episode).
If a script isn’t in standard screenplay format, it could also be that the writer doesn’t have access to premium screenwriting software and instead must adapt using something like Word.
If you need to brush up on script formatting, you can access our definitive guide to formatting for free. You can also explore some alternatives to paid software here.
Learn From the Greats
Maybe you’re almost there with your pilot but there’s still something missing, or something just isn’t quite working. That’s when turning to the greats for inspiration could help you out of a writing hole.
At Shore Scripts, we’ve compiled a collection of 100+ TV scripts of the biggest produced shows out there, from the best of HBO to the top genre pilots. By studying the writing behind your favorite shows, you’ll quickly pick up new ways to craft an engaging story. Plus, having some distance from your own script might help you return to it with a fresh pair of eyes.
Proofreading is Your Best Friend
A script littered with typos is the reddest of flags for readers, whether it’s spelling mistakes, grammatical errors, sentences not making sense because they got cut off somewhere in the editing process, or just your screenwriting software deciding to randomly change a line of dialogue into a scene heading (cheers, Final Draft). It’s little details like this that can be fixed with relative ease that make all the difference in creating that strong first impression for your reader. Don’t lose them to small blips you could easily avoid.
One of the most common issues our readers encounter in a script is inconsistency. For example, when scene headings or characters’ names change from one scene to the next. Maybe ‘TOM’S BEDROOM’ becomes just ‘BEDROOM’, ‘DAD’ suddenly becomes ‘BRIAN’, or the time stamps jump around in a way that’s hard to follow. While you may be able to see these people and places vividly in your head, the reader isn’t coming to your script with the same level of familiarity. Don’t give them any reason to become confused and lose focus. The attention of your audience or reader is a finite resource. Treat it with the utmost care.
Before submitting to any contest, you should be reading your script over and over again with a fine-tooth comb until you reach a point where you can’t see the forest from the trees. That’s where a second pair of eyes comes in handy.
If you’re lucky enough to have a friend that is happy to read your work, then lean on them, and make sure to give them a few specific things to look out for that you’ve been struggling with. Having someone to proof your script will always be helpful, regardless of their level of expertise. Everyday people make up the audiences that watch TV, and the more of them who read your script the better (just don’t be too pushy with it).
If from there, you still feel like something isn’t quite working with your script, professional feedback could be the next step. At Shore, we have a range of coverage options, from 3-page reports to a complete annotated copy of your proofread script. New to coverage? Check out our free guide on how to handle feedback.
We recently caught up with last year’s TV contest winners to ask them about the biggest struggles they face, as well as the writing routines they’ve found work best for them.
Does Your Pilot Have Enough Gas for an Entire Series?
Arguably the most important thing for a TV pilot script to have is a premise with enough narrative fuel to propel an entire series. Pilot scripts have the unique job of needing to immediately grab the reader’s attention. They then have to create a compelling enough story to keep that attention within the allotted pages, while also setting up the larger world of the series for it to move forward. Your idea needs to contain characters that can go on long journeys of deep development, plots that can be reimagined again and again into various subplots, all as rich as each other, and a central question or conflict that can be explored over an extended period of storytelling.
Maybe you have an idea you’re really passionate about but you’re questioning if it has all these things. If so, it could be that you’re writing in the wrong format. Maybe your idea is better suited to a Short Film or Feature script. You can download our free guide to finding the right format for your idea here.
Tell the Story Only You Can Tell
All readers are looking for a unique voice that feels distinct from the last script they read, and the great thing about your voice is it’s your own! Think about what makes your perspective unique and lean into it. This might even require a little soul-searching or a stroll down memory lane.
Consider what you grew up around that defined you. It might have even been something that made you feel a little different in school. Something that up until now you’ve tried to hide. Maybe you’ve faced a trauma that’s shaped you in some way.
People crave stories that make them feel seen, bad parts and all, and it’s our job as writers to explore these more vulnerable parts of humanity through our work. It can be in the inside jokes you and your friends tell or the things that catch your eye when you’re looking out the window on the bus home. These are all things that make you, you, and if you can capture that magic in your writing, then you’ve got something people will want to see.
You don’t have to have experienced great hardship, you just have to find the emotional truth of your experiences, however big or small, and use that to tell your story. Watch this interview with our Director of Contests, Sarah J. Eagen to hear more about how you can find the emotional truth of your voice as a writer.
Once you have polished your pilot script and are ready to put it out in the world, why not consider submitting it to our TV Writers Mentorship Program? This isn’t your typical screenwriting contest. We’re offering a game-changing opportunity to level up your writing and career with 8 weeks of development sessions, including meeting with showrunner Beth Schwartz (ARROW), taking calls with development execs and reps, working on pitching prep, and more! See a full breakdown of the program here.
