# What's really involved in SUCCESSFULLY pitching a TV pilot? **URL:** \ **Category:** Cafe Society\ **Created:** [March 28, 2013, 9:20pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215 "2013-03-28T21:20:17Z")\ **Posts on this page:** 20\ **Page:** 1
**Author:** ![deltasigma](https://avatars.discourse-cdn.com/v4/letter/d/e5b9ba/32.png) [@deltasigma](https://boards.straightdope.com/u/deltasigma)\ **Post date:** [March 28, 2013, 9:20pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/1 "2013-03-28T21:20:17Z")
First, I probably have the creative aptitude of a binder clip, maybe a toaster if I’m going to be generous. So it’s not like I think I’d ever have a shot at doing something like this. In the words of Saint (Dirty) Harry, ‘A man’s gotta know his limitations.’ But it’s nice to dream. So from time to time I’ve looked into the mechanics. The different associations, conventions, who you have to try to network with, even pointers on content. A lot of it is formulaic. If you’re really motivated and put the time, eventually you’ll get someone to listen to you. But what makes something a GOOD concept not only creatively such that people will be engaged, seduced and joy of joys, even addicted, but is constructed so that even from a lifeless, stack of typed pages and maybe a story board presentation, anyone with half a brain can see the potential? I’m not sure there’s an answer personally because whenever I think about this, I realize that a lot of the shows that I love, it’s because of the actors. OK, the characters. But how much is the original concept for character and how much is the actor’s nuanced execution is hard to say - for me at least. Also, with market fragmentation, television has actually been getting better. Mad Men never would have made it as a prime time broadcast show, partly because it’s edgier but also because it just appeals to a narrower audience. So maybe 5 or 10 years ago there would have been a few basic formulae you needed follow depending on the genre you were shooting for - that’s just not true any more. So is this even worth talking about? Are there some broad parameters that are objectively essential or is the whole thing pretty much a crap shoot? ---
**Author:** ![samclem](https://avatars.discourse-cdn.com/v4/letter/s/a9a28c/32.png) [@samclem](https://boards.straightdope.com/u/samclem)\ **Post date:** [March 28, 2013, 11:42pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/2 "2013-03-28T23:42:05Z")
Moved from General Questions to Cafe Society. **samclem** , moderator ---
**Author:** ![Kent\_Clark](https://sea3.discourse-cdn.com/straightdope/user_avatar/boards.straightdope.com/kent_clark/32/105_2.png) [@Kent\_Clark](https://boards.straightdope.com/u/Kent_Clark)\ **Post date:** [March 29, 2013, 12:18am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/3 "2013-03-29T00:18:32Z")
The most overlooked thing about a brilliant idea is the ability to execute it. Networks get scores of show ideas every year. Many are viable, a few are even good. But it’s a lot easier for them to take a chance on a project that has a team (producers, writers, etc.) with a proven record behind it. IIRC, Phillip Rosenthal has said that, despite having David Letterman and Ray Romano behind the project, he had a lot of trouble convincing CBS to agree to _Everybody Loves Raymond_ because the network didn’t trust Rosenthal to be the “show runner,” and wanted a more experienced producer. ---
**Author:** ![deltasigma](https://avatars.discourse-cdn.com/v4/letter/d/e5b9ba/32.png) [@deltasigma](https://boards.straightdope.com/u/deltasigma)\ **Post date:** [March 29, 2013, 1:04am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/4 "2013-03-29T01:04:01Z")
Yeah, that’s reinforcing my ‘crap shoot’ bias in the sense that the concept and initial dynamics are probably irrelevant for the long term. It’s the writers, designers and others with creative input who will determine success. Which now that I say it I guess should have been obvious and is certainly how the gatekeepers who screen all the wannabees look at it. It’s probably like the difference between Jimmy Page playing a piece of shit electric guitar you got at a garage sale and the neighbor’s kid wailing on a vintage Fender. ---
**Author:** ![Exapno\_Mapcase](https://sea3.discourse-cdn.com/straightdope/user_avatar/boards.straightdope.com/exapno_mapcase/32/1051_2.png) [@Exapno\_Mapcase](https://boards.straightdope.com/u/Exapno_Mapcase)\ **Post date:** [March 29, 2013, 2:19am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/5 "2013-03-29T02:19:10Z")
There have been a million previous threads about this and I can sum them all up in a paragraph. The way to sell a TV series is to move to Los Angeles, get any job you possibly can in the business, write constantly on the side, network like crazy, and work yourself up the ladder. If you’re one of the people who succeed you’re already out in Los Angeles doing exactly this and not asking questions about it, so the chances of your succeeding are exactly zero. It is not a crap shoot; it is a business plan. ---
**Author:** ![Belowjob2.0](https://avatars.discourse-cdn.com/v4/letter/b/b9e5f3/32.png) [@Belowjob2.0](https://boards.straightdope.com/u/Belowjob2.0)\ **Post date:** [March 29, 2013, 2:33am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/6 "2013-03-29T02:33:14Z")
> **[KCRW 89.9FM | Music, NPR News, Culture Los Angeles](https://www.kcrw.com)** > > KCRW creates & curates music discovery, NPR news, cultural exploration and informed public affairs. From Los Angeles to around the world, KCRW.com. > [@](#): > > Rob McElhenny and Glenn Howerton – the two creators and stars of It’s Always Sunny in Philadelphia – along with FX President John Landgraf, tell the unlikely origin story of this off-beat comedy. Something like this can happen, but almost never does. Keep in mind these guys didn’t really come out of nowhere. They’d been on the Hollywood scene for years as actors in small parts before they broke through. > **[Rob McElhenney](https://en.wikipedia.org/wiki/Rob_McElhenney)** > > Robert McElhenney III (/ˈmækəlhɛni/ MAK-əl-hen-ee; born April 14, 1977) is an American actor, screenwriter and producer. He is best known for his role as Mac on the FX/FXX comedy series It's Always Sunny in Philadelphia (2005–present), a show he created and co-developed with Charlie Day and Glenn Howerton and on which he continues to serve as an executive producer and writer. He is also known for playing Ian Grimm on the Apple TV+ comedy series Mythic Quest (2020–2025), which he co-created wit... > **[Glenn Howerton](https://en.wikipedia.org/wiki/Glenn_Howerton)** > > Glenn Franklin Howerton III (born April 13, 1976) is an American actor. He is best known for playing Dennis Reynolds on the long-running sitcom It's Always Sunny in Philadelphia (2005–present) on FX/FXX, a series he co-developed with Rob McElhenney, and on which he serves as an executive producer and writer. On film, he is best known for his portrayal of Jim Balsillie in the Canadian film BlackBerry (2023). > His other notable performances on television include the recurring role of Cliff Gilber... So, if you’ve got talent that power players can recognize, and you’ve got good connections, it might pay to shoot your pilot yourself. Gotta know what you’re doing, though, and if you don’t know anyone who can make the right introductions, your DVD will end up in the dumpster. Normally, networks only buy pilot scripts from experienced writers, with years of success as either staff writers on existing TV shows, or years of success writing for feature films. There are exceptions. If your work has already made a big splash in some other medium - standup comedy, comic books, newspaper comic strips, feature articles in magazines, the theater, best selling non-fiction, young adult fiction, - you may be able to sell it to Hollywood for them to develop. Without solid proof of audience appeal, however, nobody’s interested in buying ideas alone. Now, from a Hollywood perspective, most people who think they have a great idea for a movie or TV show, don’t actually have an idea for show at all. What they have is an idea for an idea for a show. That’s because the only thing that really counts as an idea for a show is a finished script. Properly formatted, appropriate page count, brainstormed, outlined, written, critiqued by knowledgeable people, and rewritten until the story leaps off the page. The script basically forces everyone to commit to a specific series of events, in specific places, with specific (imaginary) people, in a specific time line. No talking your way around story problems. It’s either there on the page, or it’s not. Since even a super low budget show costs as much as a really nice house, and most shows start at a couple million dollars per episode, no one is foolish enough to spend money on just an idea alone. They want a good script, from someone who knows what they’re doing. With a good script, the deal makers can attract actors. The line producer, unit production manager and first AD must have a script to make a shooting schedule and budget. They can then hire a crew, with locations, wardrobe, hair, makeup, camera, grip and electric. Teamsters to drive the whole mess around. ---
**Author:** ![deltasigma](https://avatars.discourse-cdn.com/v4/letter/d/e5b9ba/32.png) [@deltasigma](https://boards.straightdope.com/u/deltasigma)\ **Post date:** [March 29, 2013, 2:50am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/7 "2013-03-29T02:50:14Z")
Also you can look at something like [Primer](http://www.imdb.com/title/tt0390384/). There probably aren’t many people who could what that guy did, and ok, it’s a movie, but still, if you have the talent . . . And I just read about him in Wired this month. That movie was 10 years ago and he did something for another big film festival. Didn’t really follow up on it though. ---
**Author:** ![Exapno\_Mapcase](https://sea3.discourse-cdn.com/straightdope/user_avatar/boards.straightdope.com/exapno_mapcase/32/1051_2.png) [@Exapno\_Mapcase](https://boards.straightdope.com/u/Exapno_Mapcase)\ **Post date:** [March 29, 2013, 2:54am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/8 "2013-03-29T02:54:36Z")
You asked about selling a TV pilot. That is entirely, completely, a different world from making your own independent movies. You cannot compare the two in any way. ---
**Author:** ![Belowjob2.0](https://avatars.discourse-cdn.com/v4/letter/b/b9e5f3/32.png) [@Belowjob2.0](https://boards.straightdope.com/u/Belowjob2.0)\ **Post date:** [March 29, 2013, 3:14am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/9 "2013-03-29T03:14:40Z")
> **[How does a regular Joe Schmo pitch a pilot to a network?](http://kenlevine.blogspot.com/2010/05/how-does-regular-joe-schmo-pitch-pilot.html)** > > Ken Levine's daily column about writing, producing and watching TV sitcoms, TV dramas, film, pop culture and life. > [@](#): > > Ken, I have a pretty damn good idea for a t.v. show. How does a regular Joe Shmo get in a position to pitch something like that? > > Heidi, I wish I could be more encouraging but the truth is unless you have a track record it’s almost impossible to get a network to hear your pitch. They’re more concerned with who’s going to execute the show than who brings in the best ideas. Generally you have to be on staff of a show for a few years or have a screenplay credit or two (and even then they’d want you paired up with an established show runner). \*\*deltasigma \*\* > [@](#): > > ``` > Also you can look at something like Primer. There probably aren't many people who could what that guy did, and ok, it's a movie, but still, if you have the talent . . . > > ``` > > And I just read about him in Wired this month. That movie was 10 years ago and he did something for another big film festival. Didn’t really follow up on it though. You would be invited to pitch TV show ideas after your movie - \*Primer \*- became a breakout hit. Now, the vast majority of independent films fail, and leave their makers in serious debt. Making an indy film, as Exapno Mapcase points out, is a separate subject. As noted above, shooting your own pilot, or even short film as part of a pilot presentation, has been done, is being done as we speak. Most people who try this fail, a tiny handful succeed. But the people who do it, don’t come from nowhere. Almost always, they’ve been part of the TV and film world as actors, crew people, assistants, writers, film school grads, for years before they bet it all on their risky ventures. ---
**Author:** ![GuanoLad](https://sea3.discourse-cdn.com/straightdope/user_avatar/boards.straightdope.com/guanolad/32/42_2.png) [@GuanoLad](https://boards.straightdope.com/u/GuanoLad)\ **Post date:** [March 29, 2013, 3:34am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/10 "2013-03-29T03:34:28Z")
I am amazed at how many ideas get pitched for TV shows each year. It’s hundreds and hundreds of different ideas, just for the main networks. Maybe 5% of those ideas get to pilot stage, and only 10% of those get picked up, and only 20% of _those_ get picked up for the back nine, and only 30%\* of _those_ get a second season. The world of TV and movies has no shortage of ideas, good, bad, potentially popular, or otherwise. What they need are production teams that can pull them off at a certain level of competence. \*All percentages approximated by best guesses and casual knowledge picked up from everywhere and nowhere ---
**Author:** ![cmyk](https://sea3.discourse-cdn.com/straightdope/user_avatar/boards.straightdope.com/cmyk/32/3353_2.png) [@cmyk](https://boards.straightdope.com/u/cmyk)\ **Post date:** [March 29, 2013, 5:23am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/11 "2013-03-29T05:23:55Z")
> [@Exapno\_Mapcase](#): > > There have been a million previous threads about this and I can sum them all up in a paragraph. > > The way to sell a TV series is to move to Los Angeles, get any job you possibly can in the business, write constantly on the side, network like crazy, and work yourself up the ladder. If you’re one of the people who succeed you’re already out in Los Angeles doing exactly this and not asking questions about it, so the chances of your succeeding are exactly zero. It is not a crap shoot; it is a business plan. This, a zillion percent this. ---
**Author:** ![Boyo\_Jim](https://avatars.discourse-cdn.com/v4/letter/b/87869e/32.png) [@Boyo\_Jim](https://boards.straightdope.com/u/Boyo_Jim)\ **Post date:** [March 29, 2013, 5:29am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/12 "2013-03-29T05:29:25Z")
> [@Belowjob2.0](#): > > … > That’s because the only thing that really counts as an idea for a show is a finished script. Properly formatted, appropriate page count, brainstormed, outlined, written, critiqued by knowledgeable people, and rewritten until the story leaps off the page. … Yet so many of them leap right into the toilet. Amazing that such a tried and true system produces so much crap. ---
**Author:** ![don\_t\_ask](https://avatars.discourse-cdn.com/v4/letter/d/e68b1a/32.png) [@don\_t\_ask](https://boards.straightdope.com/u/don_t_ask)\ **Post date:** [March 29, 2013, 8:37am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/13 "2013-03-29T08:37:52Z")
> [@Boyo\_Jim](#): > > Yet so many of them leap right into the toilet. Amazing that such a tried and true system produces so much crap. Perhaps it’s really just a tired and true system. ---
**Author:** ![Lakai](https://avatars.discourse-cdn.com/v4/letter/l/9de0a6/32.png) [@Lakai](https://boards.straightdope.com/u/Lakai)\ **Post date:** [March 30, 2013, 12:34am UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/14 "2013-03-30T00:34:27Z")
Assuming you get in front of studio executives, a successful pitch for a pilot will involve giving them exactly the kind of show they are looking for. Quality won’t work because not everyone is after quality. If you don’t know what they’re after then it’s just a game of chance. If you do know, then your success will depend on how well you can deliver on their ideas. I’ve read [The Revolution Was Televised](http://www.amazon.com/The-Revolution-Was-Televised-Slingers/dp/0615718299), which tells the origin stories of some of TV’s best dramas, and a lot of them involved a TV executive looking for a particular type of show and then finding a creative person who could deliver. The exception to this rule were cable networks after quality because it helped build their brand and keep them on cable subscriptions. When AMC found **Mad Men** they were looking for a show like **The Shield** which made everyone notice FX. ---
**Author:** ![Belowjob2.0](https://avatars.discourse-cdn.com/v4/letter/b/b9e5f3/32.png) [@Belowjob2.0](https://boards.straightdope.com/u/Belowjob2.0)\ **Post date:** [March 30, 2013, 6:33pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/15 "2013-03-30T18:33:05Z")
[so you want to write a television pilot?](http://chaodai.livejournal.com/2625.html) > **[Javier Grillo-Marxuach](https://en.wikipedia.org/wiki/Javier_Grillo-Marxuach)** > > Javier "Javi" Grillo-Marxuach (listenⓘ; born October 28, 1969, in San Juan, Puerto Rico), is a television screenwriter and producer, and podcaster, known for his work as writer and producer on the first two seasons of the ABC television series Lost, as well as other series including Charmed and Law & Order: Special Victims Unit. > Grillo-Marxuach graduated from Huron High school in Ann Arbor, Michigan. He received a Bachelor of Arts (BA) in 1991 from Carnegie Mellon. While at CMU he was active as... > [@](#): > > he stock answer to this is “move to los angeles and spend ten years making a name for yourself as a television producer with an established track record that will make a studio and network believe that they should trust you with forty-four million dollars of their money to produce twenty-two hours of television.” > > however, things have changed in television, and now it is easier than ever to get a pilot on the air without establishing a track record as a producer… > > …and I say that in the same way one might say “now it’s easier than ever to put an orbital mind-control laser in a geosynchronous orbit over your mother-in-law.” > > if you are a feature writer who has made a big sale, or gotten a film produced - or if you are a big-time film producer or director - television is wide open. whether you know tv, like it, or want to make it, the networks and studios believe that well-known, successful writer/producer/directors are a pre-sold brand and a good barometer of potential success - and will offer huge bucks to attract that talent. ---
**Author:** ![Belowjob2.0](https://avatars.discourse-cdn.com/v4/letter/b/b9e5f3/32.png) [@Belowjob2.0](https://boards.straightdope.com/u/Belowjob2.0)\ **Post date:** [March 30, 2013, 6:40pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/16 "2013-03-30T18:40:18Z")
> **[Transcript of Scriptnotes, Ep. 1](http://johnaugust.com/2011/scriptnotes-ep-1-pitching-a-take-and-the-wga-elections-transcript)** > > When screenwriters are asked to meet with the studio (or producers) about a project, what do both sides expect? Answers, plus WGA election discussion. > [@](#): > > Q: “What are execs looking for from working writers who come in and pitch takes on assignments? I’d love to hear more about this and what strategies are important. Do you pitch problems with the script and then solutions? Do you pitch your own version? And how you’d do it from the beginning as though you’re pitching a new movie? Is it a conversation? What are they looking for?” > > A:JOHN: Great. So, let’s talk about the kind of meeting and sort of, who sets up this meeting and what conversations you’ve had before you even go into those meetings. > > So, usually, if you’re coming in to pitch on assignment, there’s some piece of property that the studio already owns. So, they’ve bought a book, they’ve bought another movie that they want to remake. They’ve bought a script, or someone’s been working on a script and they need, they want someone else to come in and rewrite the script. There’s something to look at. > > So, before you even start having a conversation with them, they’ve generally sent over some material, you’ve had a chance to look at it, or at least think about it, if it’s something that’s so abstract, like a board game or remaking, like, a classic movie. ---
**Author:** ![Belowjob2.0](https://avatars.discourse-cdn.com/v4/letter/b/b9e5f3/32.png) [@Belowjob2.0](https://boards.straightdope.com/u/Belowjob2.0)\ **Post date:** [March 30, 2013, 6:44pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/17 "2013-03-30T18:44:27Z")
[You’ve got a pitch meeting — now what?](http://www.latimes.com/entertainment/news/tv/la-ca-tv-pitch-20111120,0,7487218.story) > [@](#): > > After working in TV and film for the past seven years, from an intern to a production assistant to the writers’ office, I decided to move from New York to Los Angeles. I’d been out here eight months when, during a meeting, I ran an off-the-cuff show idea by development executives. “We’ll get in touch,” they said, which in Hollywood translates to “You’ll never hear from us again.” But then they did something strange. They got in touch. > > “We want you to come in and pitch it.” Hold up. This was just an idea I had. Not even an idea — a seed of an idea! And now they wanted me to come in with a fully grown flower? In less than a week. ---
**Author:** ![Dewey\_Finn](https://sea3.discourse-cdn.com/straightdope/user_avatar/boards.straightdope.com/dewey_finn/32/4222_2.png) [@Dewey\_Finn](https://boards.straightdope.com/u/Dewey_Finn)\ **Post date:** [March 30, 2013, 7:48pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/18 "2013-03-30T19:48:43Z")
I thought this bit from that LA Times article was a little depressing, “A newly hired executive came into the network. Made some changes. And by changes, I don’t mean switching the sweetener in the office kitchen from Splenda to Sweet’n Low. No, the change was putting an end to scripted development at the network, to focus on reality TV.” Now that doesn’t mean that the unnamed network is entirely giving up on scripted series; just the in-house development of them. But still, as someone who prefers scripted series to reality TV, it’s not a good sign. ---
**Author:** ![deltasigma](https://avatars.discourse-cdn.com/v4/letter/d/e5b9ba/32.png) [@deltasigma](https://boards.straightdope.com/u/deltasigma)\ **Post date:** [March 30, 2013, 8:02pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/19 "2013-03-30T20:02:49Z")
> [@Dewey\_Finn](#): > > I thought this bit from that LA Times article was a little depressing, “A newly hired executive came into the network. Made some changes. And by changes, I don’t mean switching the sweetener in the office kitchen from Splenda to Sweet’n Low. No, the change was putting an end to scripted development at the network, to focus on reality TV.” > > Now that doesn’t mean that the unnamed network is entirely giving up on scripted series; just the in-house development of them. But still, as someone who prefers scripted series to reality TV, it’s not a good sign. That’s pretty interesting. I’m still, I’m not sure what to say exactly. I guess ‘puzzled’ by the whole ‘reality’ tv thing. And I think it’s comical to say they’re not scripted since they stopped production during the writer’s strike a few years ago since it turns out that they do have writers after all. I guess just not in the “scripted” sense. Not sure how that works. Anyway, people seem to love it and better yet, they’re so much cheaper to produce that the exec is probably a genius. You make your network synonymous with reality tv so that the people who are into the genre channel surf to you first. If he knows his market and makes the right programming choices, I can definitely see it working. Not for a broadcast network, but definitely for a small basic cable channel. On a separate topic, anyone who’s directing advice or information to me specifically, thank you. But as I said in the OP, I really don’t have the creative ability so it’s barely a pipe dream. I do love bs’ing about it and hearing more about it though. 🙂 ☺🙂 ---
**Author:** ![Belowjob2.0](https://avatars.discourse-cdn.com/v4/letter/b/b9e5f3/32.png) [@Belowjob2.0](https://boards.straightdope.com/u/Belowjob2.0)\ **Post date:** [March 30, 2013, 8:25pm UTC](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215/20 "2013-03-30T20:25:16Z")
> [@](#): > > Originally Posted by \*\*deltasigma \*\* > And I think it’s comical to say they’re not scripted since they stopped production during the writer’s strike a few years ago since it turns out that they do have writers after all. I guess just not in the “scripted” sense. Not sure how that works. The [WGA West - the screenwriter’s union on Hollywood](http://www.wga.org/organizesub.aspx?id=1088)- thinks it’s comical too. In the sense that they have to laugh to keep from crying. The Guild tried and failed to organize reality TV “producers” and “editors” who, in spite of their titles, actually write the episodes. [http://www.wga.org/organizesub.aspx?id=1091](http://www.wga.org/organizesub.aspx?id=1091) [http://www.wga.org/organizesub.aspx?id=1092](http://www.wga.org/organizesub.aspx?id=1092) [Next page](https://boards.straightdope.com/t/whats-really-involved-in-successfully-pitching-a-tv-pilot/654215.md?page=2)