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AN OVERVIEW OF THE TV INDUSTRY

OUT WITH THE OLD, IN WITH THE NEW

It’s official. Television has entered a new Golden Age. A revolution, so to speak. And with it comes the promise of innovative change and unimaginable opportunity.

For writers and creators, the good news is that this new, exciting digital age is all about content. It’s about writing and producing shows that are as addictive as M&Ms. And with so many great shows being made, now, more than ever, it seems everyone wants a piece of the action. Take Amazon. The world’s largest online retailer is now in the business of creating, producing, and streaming TV series; and they’re making headlines as a force to be reckoned with. And what about Netflix? Not long ago this was a company that mailed us DVDs. Now, some of their series like House of Cards and Orange is the New Black are the toast of the town. Not to mention, Netflix has resurrected audience favorites such as Arrested Development. To make things all the sweeter, some Netflix series are fierce contenders for internationally recognized awards. With this kind of success and hype, it’s almost certain that more so-called “unexpected” players will jump into the TV game in hopes of taking home a golden girl named Emmy. Believe me when I tell you this is a very good thing. More companies in the game of producing scripted television means more jobs for writers.

The catalyst for most, if not all, of this change is technology. Long ago, in what seems like a galaxy far, far, away, people watched TV on, well… television sets. Today, in addition to TV sets, we regularly catch our favorite programs on smart phones, iPods, computers, and tablets. Technology has not only changed how we watch TV, but when we watch it. It used to be that if you had a favorite show, you were at the mercy of the network or cable station. You plopped yourself in front of your TV set once a week on a certain day and time. If you missed it…tough tooties…you had to wait for the reruns, which might not come until the following summer. Now, with technology, we DVR shows. We have Video on Demand. We use Netflix and Hulu to binge view, consuming an entire series in a weekend. We watch our programs on our terms. We watch what we want, when we want.

What all this has done is turned the television industry upside down. It’s forced executives to rethink old models. And many of the old rules no longer apply. Traditionally, broadcast and cable networks have been fierce competitors, battling for their share of the audience and the next big hit. With this in mind, companies like Netflix and Amazon that produce original content could be seen as the enemy. And in a sense, they are. At the same time, networks clearly recognize the value streaming services offer in terms of creating hype for a show and attracting viewers they might not otherwise get. Vince Gilligan who created the mega hit Breaking Bad would likely be the first to tell you binge viewing was a godsend in making his show all the rage. Then there’s ABC’s hit, Scandal. The first season, the show had decent reviews but mediocre ratings. Not so long ago, if the ratings weren’t great, the network simply would have canceled the show. But ABC did something brilliant. They licensed the series to Netflix in August, a short time before the second season was about to start. And voila…low and behold the audience found the show and the second season’s ratings were higher. So when it comes to Netflix, Amazon, and Hulu, broadcast and cable networks are never quite sure whether to frown or smile, though the overall feeling tends to be that these streaming services are ultimately a good thing.

What may be a love–hate relationship today could become a committed marriage tomorrow. It seems like a no-brainer for studios, broadcast and cable networks to jump into the sandbox with streaming services like Netflix, Amazon, and Hulu to create original content. The question is, will these once fierce competitors actually smoke the peace pipe and partner up?

Technology has also made television much more global. With six billion new Internet users expected in the next five years, this is likely to be the new normal. What this means is that when writing and creating shows, you have to think globally. You have to write stories with universal themes that can translate to people all over the world. Expect in the coming years that TV shows will be imported and exported regularly. If a show is a success in another country, someone will undoubtedly get the rights and produce it here, hoping for the same success. This isn’t exactly a new phenomenon. The 1970 s’ hit All in the Family was based on the British show, Till Death Do Us Part. More recent hits include, House of Cards, which is an adaptation of a BBC mini-series of the same name, and Showtime’s Homeland, which is based on the Israeli series, Hatufim. Expect this trend to become even more prevalent. In this day and age, a hit can come virtually from any part of the globe. Denmark, Jordan, Fiji — it doesn’t matter. If an international show finds a large enough audience and gets some buzz, chances are we will see a version of that show in the United States. By the same token, TV series that are hits in America will be sold around the world. Writers in any given country will be hired to adapt these series, paying close attention to cultural differences. The series will then be cast and produced by a production company from that country. When this happens, studios will often send an experienced American producer to oversee the production and to ensure that the show stays true to its original concept.

Another thing that’s changed is the way shows are ordered. In the past, networks would order a pilot into production based on the strength of the pilot script. If the show fared well in focus groups, it would be ordered to series and given a place on the network schedule. A typical order was 12 more episodes to make a total of 13. Once the show went on the air, if it found an audience and did well in the ratings, then it was given what is called a “back order” of nine more episodes to make a total of 22 episodes per season. Writers and producers crossed their fingers, hoped and prayed that their show would stay on the air for at least five — and hopefully more — seasons. If they reached the magic one hundred or more episodes, it meant the show could be sold to syndication, which is where the real money lies for creators.

While most television series still go through this process, the tides may be a turning. It’s true, networks would still love to find that next big hit like The Simpsons that will stand the test of time and stay on the air for decades. At the same time, they realize the likelihood of that happening in today’s market is slim. The television audience is just too fragmented. With so many shows to choose from, the audience doesn’t have the same loyalty it once did. When television was young — or even back in the 1980 s and 1990 s with NBC’s “Must See TV” Thursday night line-up — viewers showed extreme loyalty to their favorite programs. But today, with the “so many shows to watch, so little time” mentality, the audience also doesn’t have the same attention span it once had. We’ll watch a show for several seasons, but then we want something new and different…something we haven’t seen before. We want the wheel re-invented. We want to be wowed.

With so much competition, some broadcast and cable networks are going the extra mile to attract talent by guaranteeing them bigger orders. Facing heavy competition, NBC gambled and gave The Michael J. Fox Show an unheard of (at least in this day and age) 22-episode order. In similar fashion, the network gave 30 Rock executive producers Tina Fey and Robert Carlock a straight to series 13-episode commitment for their new show, Tooken. Another trend is what’s known as the 10/90 deal. This started with Tyler Perry’s series House of Payne. The deal is that the show is picked up for 10 episodes. These episodes air and if they do reasonably well, another 90 are ordered to make the magic number of 100 episodes so the show can be put into syndication and make everyone rich. And of course, Netflix guaranteed Media Rights Capital, the production company behind House of Cards, two seasons of 13 episodes each for a total of 26. These up front orders become very attractive to writers and producers. Better to get a guarantee that your series will be produced, aired, and have a shot at becoming a hit than risk the possibility of it landing in the pilot graveyard, never to see the light of day.

Of course, all of this change bodes well for new writers. Television is hotter than it’s ever been. There’s more original content being made and more platforms to get your voice heard and your work noticed. Yet with all this upheaval, it’s important to note that some things haven’t changed. Shows are still written in the same way they always have been. To break into the industry, you still have to do your homework. You have to prove you can write before anyone is going to hire you as a writer. You have to write every day and create a stable of outstanding material. And perhaps, most importantly, you have to have a fresh, original voice in order to break through all of the clutter.

GETONTHE BALL

Understanding what drives television as an industry can be almost as important to your career as writing a solid script. In the same way insurance salesmen stand around the water cooler talking about new state regulations, as a writer you must be in the know about the entertainment industry. You must possess a wealth of knowledge of where television has been in the past, where it stands today, and perhaps most significantly, where it is headed in the future. On any given day, topics like what shows are hot, what shows are not, who the showrunners are and where they came from (as in what shows they used to run) must roll off your tongue like a second language.

Staying on top of this ever-changing picture can be more than a challenge. The best and easiest way to stay current is to regularly read Deadline Hollywood (www.deadline.com). In fact, don’t just read it; sign up for email alerts. Nearly everyone — from the most seasoned professional to the newest intern — reads the articles posted on this web site the moment industry news breaks. So should you. Consider it the CNN of the entertainment industry. It is on this web site that you will find up-to-the-minute breaking news and information on the industry in which you plan to become employed. You will discover precious tidbits like recent deals that have been made, TV shows that have been picked up, TV shows that have been canceled, who is suing whom and why, TV ratings, and hundreds of other pieces of important information that will help keep you in the know. A similar web site you’ll want to check out for entertainment news is The Wrap (www.thewrap.com). And while you’re at it — if you can afford to — subscribe to long-time industry trades such as Variety and The Hollywood Reporter. The most astute people in this business are the ones that know what is going on at any given moment. When it’s right at your fingertips, there’s no excuse to be out of the loop. The last thing you want is to find yourself in the company of industry insiders and you can’t join the conversation because you don’t have a clue what they’re talking about.

You should also make a habit of reading the L.A. Times and the N.Y. Times. Certain sections of these papers such as Arts and Entertainment are loaded with industry news. And while you’re at it, check out The Wall Street Journal as well. Knowledge is power. If you are to succeed as a television writer, you can’t live in a shell. It is imperative you are up to date with what is going on in your industry, and that includes even the seemingly minor stuff.

It is equally imperative you know what’s going on in the world. So watch your local news in the morning over breakfast. Catch a half hour of network news while you are eating dinner. Television is a reflection of society and the way we live our lives. To succeed as a writer, not only do you need to know what is going on in the big, bad world around you, but you also need to have an opinion about it. Good scripts have definitive points of view. How can you have a point of view on things you know nothing about?

Another important reason you need to be up to speed on current events is so you can carry on intelligent conversations with people in the industry. There tends to be a huge misconception among young, wannabe writers that those in the entertainment business (Californians in particular) are a bunch of shallow, not-so-bright people who sit around all day waxing their surfboards and bodies. Let me assure you — just the opposite is true. While every industry has its share of morons, I have found the majority of people who work in entertainment to be incredibly smart. They are up to date with what’s going on in the world around them. These are people who know the names of their senators and congressmen and how to reach them. Do you? If not, it’s time to get on the ball.

IT’S CALLED SHOW BUSINESS FOR A REASON

Most writers will tell you that the entertainment industry today is about 30% “show” and 70% “business.” Like other major corporation around the globe, studios and networks exist for one reason and one reason alone — to make money. The same way Ford profits by selling cars, and Coca-Cola makes money off of its soft drinks, studios and networks make money off of their shows. This money is generated from advertising dollars. Companies that make potato chips, yogurt, toilet paper, etc. pay to place commercials in a show. Traditionally, shows with the highest ratings cost the most for advertisers, as the ads will reach more people. That’s why Super Bowl ads are notoriously sky high in terms of cost.

Television ratings are known as the Nielsen ratings as Nielsen is the primary industry-approved company that gathers important data on what shows America is watching. Close attention is paid to the viewing habits of people ages 18–49 as this is the demographic advertisers are most fond of. Again, because technology has changed how and when we watch TV, getting an accurate number of who is watching what when is much more complicated than it used to be. Today, people can DVR shows and watch them several days later. Technically, the shows are being watched, but how do they get counted? As of now, DVR viewing counts if the show is viewed within the first seven days after it aired. Recently, Nielsen has begun to count shows viewed on mobile devices as well. This is important because it gives a much more accurate account of what is actually being watched. For the most part, one thing that hasn’t changed is that if a show gets consistently low ratings, it gets taken off the air.

No one is immune to this rule, including those programs that are backed by powerhouse producers with proven track records. Case in point: Arrested Development. Produced by Imagine Entertainment (Oscar-winner Ron Howard’s well-respected company), the show had a cult following, won critical acclaim and garnered Emmy Awards, including the highly coveted Best Comedy Series. Sadly, Arrested Development had big buzz, but lacked acceptable ratings. So FOX pulled the plug. But as mentioned before, some canceled shows like Arrested Development are now finding new life on places like Netflix. Still, some network brass are not as quick to push the cancelation button on underperforming shows as they once were. If a network president believes that a show may have consistently more viewers than the number reflected in the Nielsen ratings, that show may not get the ax quite as fast as it did in the past.

WHAT ARE TELEVISION SWEEPS?

Television Sweeps are the prime rating periods that networks use to set advertising rates. Sweeps months are November, February, May, and July. You may notice that programming is considerably more exciting during these months. Because so much money is at stake, networks do everything they possibly can to pull in viewers. During Sweeps, you will probably see some of the best television of the season, with very few reruns.

Traditionally, it is during Sweeps that most of the so-called big moments occur on TV. Depending on the show, characters may kiss for the first time, get married, have babies, and even get killed off. Financially speaking, the shows that air during Sweeps are so important to the networks and studios that they will almost always be written by one of the staff writers.

STAFF WRITING VS. FREELANCE WRITING

In scripted television all shows have writing staffs. These writers come to work Monday through Friday in the same way a lawyer or a stockbroker does. The number of staff writers on each show varies, depending on the show’s budget. In addition to staff writers, during the course of a season, most shows will farm out a few scripts to freelance writers. Unlike staff writers, freelance writers (also known as “outside writers”) are not given offices, nor are they on the studio payroll. Rather, they are paid per script. Most writers start out as freelancers and as they get work produced and build professional writing credits they will then (with any luck) wind up with a staff writing job. While writing on a show is anything but easy, staff writing jobs are considered cushy because of the money and many perks that can come with them. For this reason, staff writing jobs are highly coveted and, unfortunately, there are not nearly enough of them to go around.

DO YOU HAVE TO LIVE IN L.A.?

If you want to write for series television, you absolutely, positively must live in the Los Angeles area. This is where the TV business is located. If you are to get a staff writing job, your office will likely be located at a studio or production company in L.A. Writers who resist Los Angeles will ask about New York. Again, most series television is produced in Los Angeles. Even the handful of shows that are actually shot in New York will often come through Los Angeles–based production companies, and those staff writers are generally represented by Los Angeles–based agents. Not to mention that since most of series television is done in L.A., statistically speaking, your odds of finding work as a writer in La-la-land are significantly higher than they are of finding work in the Big Apple.

You will also find that most agents are hesitant to take on new writers who don’t live in Southern California. The reason is that in order to get hired, you have to be available to meet with producers and executives. Often these meetings are set up quite quickly. I see many wannabe writers delude themselves into thinking that they can write television from the farm in Iowa, get an agent from the farm in Iowa, and then hop on a plane when necessary to take meetings. This is not close to being realistic. Once you enter the professional writing world, you are competing not only with newcomers like yourself, but also with those who have produced writing credits. With all of these qualified writers right at their fingertips, why would a studio or production company go through the hassle and inconvenience of waiting for an unproven writer to hop on a plane? The answer is they wouldn’t.

If you are serious about writing for series television, you should want to move to Los Angeles as soon as possible. By living close to your industry, you will be able to open doors and make connections that could eventually help you sell your first script.