Max Conroy: Screenwriter, script consultant and story analyst in Melbourne, Australia.

Hi all. I received truly helpful First 10 Pages feedback on my new pilot from Stage 32 industry pro Regina Lee. I'm a playwright/screenwriter (new to pilots), so this gave me a better insight into how industry execs really evaluate pilots when they read them. I hope my takeaways are useful:

First, write your first 10 pages in a way that an exec can actually imagine your pilot as a show.

TV execs have read all the great pilot scripts - from Grey’s Anatomy to Breaking Bad - so, on some level, your work is being compared to those standouts. Now that doesn’t mean execs are consciously thinking ‘is this the next Lost or Homeland?’ Rather, they are looking for pilots that hit the right notes and “feel” like a show. Finding such scripts is part their DNA, so to speak, so you need to convince them your pilot meets that bar. In the first 10 pages.

What does this mean in applied terms? 1.) Write with razor sharp clarity. 2.) Introduce multiple sources of tension / conflict. 3.) Don’t introduce seemingly important elements that have no further significance in the first 10 pages.

On writing with clarity, don’t leave anything to chance. Don’t assume an exec knows what you’re trying to convey. Show her/him precisely what you mean. Everything your character does, and everything that happens to her, should be crystal in the exec’s mind. No mystery. No questions. You have 10 pages (max) to hook an exec. Maybe less. Write with clarity.

Sources of tension/conflict should be used early and often. This is not a contrived argument between characters. Rather, it’s the internal doubts, anxiety, and other “baggage” your character brings with her to the pilot. It could also be a relationship with another character that affects your protag in a substantial way. In the Grey’s Anatomy pilot, Meredith has three sources of conflict in the first five pages alone: she is starting a new job as an intern at Grace Mercy West; she’s unsure if she can measure up to her mom, a renowned surgeon; and she unwittingly sleeps with Derek, her soon-to-be boss. Internal and external conflicts abound - and even more are piled on later - and they affect Meredith, her relationships, and her decisions moving forward.

If you feature an event or situation early in your pilot, the expectation is it’s integral to your protag’s story. If it doesn’t come up again in the first 10 pages, and an exec stops reading, it becomes just a loose end. Don’t assume an exec will read on past 10. Make sure everything you introduce in those pages is significant. Keep it tight.

I hope this adds value for some pilot writers.

Like this title

Hello Max -

Welcome to the community! I'm Amanda Toney, the Managing Director at Stage 32. Since 2013 I've been proud to oversee Stage 32's Next Level Education, which provides you the most up-to-date tools necessary to become a better creative.

Over the years Stage 32 has worked with over 500 industry executives and professionals to teach online webinars, classes and intensive labs exclusively for you - our Stage 32 community. We bring you instructors who have worked directly on some of your favorite films, TV shows or theater productions to teach you in-the-trenches information that you won't find anywhere else on producing, directing, financing, writing, packaging, acting and more.

Our Next Level Education has a 97% satisfaction rate and averages 4.5 out of 5 stars. Plus, we've had the honor to be called "LinkedIn meets Lynda.com for film, television and theater creatives" by Forbes Magazine.

I encourage you to take the next step to continue learning and expanding your career by clicking here, or clicking "education" on your top menu bar.

I'm grateful you've joined the Stage 32 community. Please let me know if you have any questions!

Amanda