{"id":3994,"date":"2021-05-22T10:30:00","date_gmt":"2021-05-22T17:30:00","guid":{"rendered":"http:\/\/propathscreenwriting.flywheelsites.com\/staging\/7934\/?p=3994"},"modified":"2021-06-22T07:34:32","modified_gmt":"2021-06-22T14:34:32","slug":"a-quick-intro-to-half-hour-tv-structure","status":"publish","type":"post","link":"https:\/\/propathscreenwriting.com\/2021\/05\/22\/a-quick-intro-to-half-hour-tv-structure\/","title":{"rendered":"A Quick Intro to Half Hour TV Structure"},"content":{"rendered":"\n[et_pb_section fb_built=”1″ _builder_version=”4.9.4″ _module_preset=”default” da_is_popup=”off” da_exit_intent=”off” da_has_close=”on” da_alt_close=”off” da_dark_close=”off” da_not_modal=”on” da_is_singular=”off” da_with_loader=”off” da_has_shadow=”on” da_disable_devices=”off|off|off”][et_pb_row _builder_version=”4.9.4″ _module_preset=”default”][et_pb_column _builder_version=”4.9.4″ _module_preset=”default” type=”4_4″][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” header_2_text_color=”#BF5050″ hover_enabled=”0″ sticky_enabled=”0″]
\n
\n
\n

It\u2019s no secret that if you want to tell a great onscreen story TV is where it\u2019s at. However, writing your first or even fifth pilot can feel a bit overwhelming. So, we\u2019re starting a new series where we break down great pilot episodes of fantastic shows to help you learn the ins and outs of creating your own world and characters. We\u2019re kicking things off with a half-hour pilot, but stay tuned for an hour-long breakdown coming soon!<\/p>\n

30 MINUTE PILOT STRUCTURE<\/h2>\n

First off, what we\u2019re finding with the streaming services is that structure isn\u2019t as important as it is with broadcast networks that use commercial breaks. Streaming pilots can run anywhere from 23 to 90 minutes long. There\u2019s much more flexibility on that side of the biz.<\/p>\n

Structure is very similar to a feature film\u2019s three-act structure. You have a teaser which does exactly what it says it will do: tease the audience. Lengths vary but the shorter the better. It\u2019s the equivalent of a hook in a feature. Grab us with something either story or character-centric. Some teasers involve a main character; some present a story question. But, the best grab us and tease us to get engaged.<\/p>\n

Then we have three acts \u2013 beg\/mid\/end. In ACT ONE<\/strong>, we set up character, situation and at the end of the act, present the problem of the pilot. Always end your acts on a cliffhanger that, if on broadcast TV, begs the viewer to hang out to see what happens next. In streaming, it escalates the problem.<\/p>\n

ACT TWO<\/strong> is all about escalation and the action your protagonist takes to solve the pilot problem. One step forward, half a step back. Complications. The act out should be a lower point that puts success into question. Just like in a feature.<\/p>\n

ACT THREE<\/strong> is the resolution. Where our protagonist solves the episode\/pilot problem. And in the process sets up the larger series problem.<\/p>\n

Sometimes, not always, there is an epilogue. But, it\u2019s not required.<\/p>\n

Let\u2019s break down one of our favorite half-hour streaming shows: CATASTROPHE<\/a> on Amazon. If you haven\u2019t seen this show we highly recommend it.<\/p>\n

SPOILER ALERT!<\/strong><\/p>\n

THE TEASER<\/h2>\n

In the CATASTROPHE teaser\/opening hook Rob and Sharon meet for the first time in a London bar (Rob is there on business) and have a one-night stand. They agree to see each other again and we spend three minutes seeing their whirlwind week-long relationship. It ends with them having sex in a stairwell one last time before he goes back to the US.<\/p>\n

At the end of the teaser, we freeze-frame on them having sex in the stairwell and the word CATASTROPHE splashes across the screen. Normally, I\u2019d advise against writers calling out TITLES in their script, but in this situation, it would be called for and would work perfectly because it is the punch line to the visual of Rob\u2019s bare ass exposed, pants around his ankles, as he has sex with Sharon one last time. And, as we\u2019ll soon see, their three-day romance leads to a catastrophe.<\/p>\n

Good teaser. It sets up the characters beautifully and sets the tone of the show. Also, it foreshadows their future choices. He brushes her off in his goodbye speech and she says something that suggests she really cares for him. This intrigues him and leads to them having sex for what they, and we, believe will be the last time.<\/p>\n

ACT ONE<\/h2>\n

Rob is back in the US and on a date. Superimposed: 32 DAYS LATER
He gets a call during the date \u2013 looks at his phone. It\u2019s Sharon. Her contact on his phone is SHARON \u2013 LONDON \u2013 SEX.<\/p>\n

More character establishment. He only saw her as an object. And we also get that character sense from him in his exchange with the date he\u2019s on \u2013 she\u2019s an intern where he works. Bosses shouldn\u2019t date interns. He also lies to the intern and says when Sharon calls that it\u2019s his mom.<\/p>\n

Sharon has called to say she\u2019s pregnant. Meeting and having sex for a week was the inciting incident. Now we have our episode problem: Sharon is pregnant.<\/p>\n

He goes back to London and they decide to keep the baby. So, we have an action (I\u2019m pregnant), reaction (we\u2019ll keep it).<\/p>\n

Complication: They go to the doctor for a check-up and discover Sharon may have cancer.<\/p>\n

That\u2019s the end of act one: Character\/situation\/problem. And a cliffhanger. Possible cancer.<\/p>\n

ACT TWO<\/h2>\n

Reaction to act one problem: they\u2019ll monitor the cancer situation and see what happens.<\/p>\n

Now we expand the story. Introduce supporting characters and subplots. There\u2019s a dinner party with another couple, Fran and Chris, who spend the dinner party talking about all the bad things that have happened to their friends in childbirth. Shit. Do we really wanna have a baby?!<\/p>\n

Definitely a complication.<\/p>\n

Rob and Chris have a cigarette outside. Chris warns Rob about the hell that is childbirth but the subtext of the convo is marriage sucks. So, Rob starts to question his choice to go through with the pregnancy and his relationship with Sharon.<\/p>\n

Rob gets into an argument with Fran that ends in Sharon revealing she has cancer. Not good. Cliffhanger: We want to see how that\u2019s going to play out specifically because Sharon warned Rob before the dinner not to mention the cancer.<\/p>\n

So, act two is all about obstacles and escalations. Let\u2019s have the baby. Obstacle: cancer.<\/p>\n

Let\u2019s go to a dinner party with friends: it\u2019s a shit show full of warnings and horror stories about childbirth and marriage that ends with the reveal of Sharon\u2019s cancer.<\/p>\n

ACT THREE<\/h2>\n

But, the reason we love these characters is their shared sense of humor and twisted outlook on the world, and act three begins with them getting ready for bed and we see they thought the night wasn\u2019t all that bad.<\/p>\n

And then\u2026 Rob proposes to Sharon. She says \u201cI don\u2019t even know you. What if you\u2019re crazy?\u201d Rob replies, \u201cMarry me and find out.\u201d<\/p>\n

So, we go from them being strangers, to a week-long whirlwind relationship to being pregnant to going through it together to her maybe having cancer to being warned about the hell that is childbirth and relationships to committing to each other in marriage. All in 23 minutes. Beg\/mid\/end. The episode problem (what to do with the news we\u2019re pregnant) is solved and we set up the rest of the series which will be about marriage, family, and relationships.<\/p>\n

Easy-peasy, right? The great shows make it look effortless, but we all know that creating those setups, characters, and worlds is absolutely fun and thrilling, but can sometimes feel like an uphill climb. But, keep pushing through! If you\u2019re stuck, watch a show that\u2019s in the same genre as your pilot and break it down yourself. You\u2019ll be amazed at what you\u2019ll learn and how it can help you get humming along on your own work.<\/p>\n<\/div>\n<\/div>\n<\/div>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]\n","protected":false},"excerpt":{"rendered":"

It\u2019s no secret that if you want to tell a great onscreen story TV is where it\u2019s at. However, writing your first or even fifth pilot can feel a bit overwhelming. So, we\u2019re starting a new series where we break down great pilot episodes of fantastic shows to help you learn the ins and outs of creating your own world and characters.<\/p>\n","protected":false},"author":2,"featured_media":3996,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[58],"tags":[37,59,60],"class_list":["post-3994","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-tv-pilots","tag-tv","tag-tv-pilot","tag-tv-writing"],"_links":{"self":[{"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/posts\/3994","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/comments?post=3994"}],"version-history":[{"count":3,"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/posts\/3994\/revisions"}],"predecessor-version":[{"id":3999,"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/posts\/3994\/revisions\/3999"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/media\/3996"}],"wp:attachment":[{"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/media?parent=3994"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/categories?post=3994"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/propathscreenwriting.com\/wp-json\/wp\/v2\/tags?post=3994"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}