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There are presently more than 500 shows on the airwaves, with more coming every year as digital and streaming channels begin to dominate the airwaves. 

If you're a writer or director, your best bet for breaking in and building a long career is no longer just in movies. Now people are talking about television.

This rise of TV has to do with many different factors, from the sheer size of the unit in your home to the prevalence of access to diversity and the uniqueness of its shape.

In making a TV show, learning how to pitch a TV show is super important to your chances of penetrating Hollywood and other movie industries.

What is a pitch for a TV show?

A television show pitch is a comprehensive document or presentation that outlines your idea from logline to full season for executives in control of a network.

This presentation can last anywhere from ten minutes to an hour and should detail all of the events in your pilot, the characters and what they are like, and let the executives know why the show could run for several seasons.

You want to make sure that your tone, core idea and core story get across


Pitching a TV show: It's all about the core concept.

A TV script lives and dies by its concept - the core idea behind the show that makes people want to watch the pilot and keep watching the series.

The cable and streaming world, in particular, has never been more creative than it is today. So you really have to do your best to make sure the concept of your show stands out.

#1. The logline, also known as an 'elevator pitch'.

The way to do this is through a
script log line: a short one or two sentence summary of your TV show's core idea.

It should be short and snappy enough to involve a supervisor during a chance meeting in an elevator, hence the term 'elevator pitch'.
Suppose your log line is for a new TV show: When a mother's young son disappears, she must fight to get him back.

This is fine as a first idea for a TV script, but it lacks that 'wow factor'. A boy disappearing on his own isn't interesting or original enough to support a full-length TV series.

But how about this ?:
When a young boy disappears from a quiet 1980s suburb, his mother, friends and the police chief must face terrifying alien forces to get him back.

In other words, once the original concept has been expanded to create a unique world and situation that we've never seen before, you have that
Weird stuff.

The comprehensive logline.
Unlike typical script log lines, TV sometimes requires you to precede a TV log line with a few more specific elements, such as channel, time slot, and length.

In other words, is your show for cable, streaming or a network? Is it showing in the morning or on prime time? Is it a half hour or an hour show?
Our Stranger Things logline could therefore become this: The show is a prime-time, hour-long, sci-fi comedy thriller about a young boy who disappears from a quiet 1980s suburb, and his mother, friends and the police chief must face terrifying alien forces in order to get him to get hold of back.

#2. Tighten the draft.
Once you think your logline is strong enough, put it out of your mind for a few weeks. 

Then go back to it and ask yourself the following questions:

• Is this concept really original?
• Will this idea stand out from the crowd?
• What makes the world of this show unique?
• What do I show viewers they have never seen?
If you're not sure after this whether the concept is really a knockout, it probably isn't. In that case, it's time to go back and brainstorm ways to make it better.

#3. Get feedback.
If you think the idea of ​​your show is really exceptional, tell other people. Watch how they react. 

It's hard to feign enthusiasm, so this will tell you a lot. You can email people your idea, but it's probably the best way to tell them in person as it will give you a real-time gut response.

This process of getting feedback on your concept from other people or a scripting consultancy is essential, rather than just deciding if it's good enough.

Note: this are the best ways on how to pitch a TV show. 
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