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As promised, a thread about scriptwriting for kids’ TV. I’ll do a separate thread to answer specific questions I’ve been asked. What follows refers to the process for pre-school animation but the elements remain the same for live action & older programming.
The stages are identical to those for other TV programming: a pitch (also known as a ‘spring’, ‘springboard’ or ‘storyline’); an outline (also known as the ‘treatment’ or ‘scene by scene’) and the script itself.
The pitch is unpaid. Between a paragraph and a page long, this must sell the main hook of your idea. It needs to convince the script editor/producer that the story has enough of a journey for the characters involved and enough of a hook to make it fresh to the viewer.
Next comes the ‘outline’ (also known as a ‘treatment’ or a ‘scene-by-scene’). This is the first paid part of a scriptwriting commission and is a prose telling of your story, split into scenes (set in specific locations/times of day).
Usually you’ll be required to split your outline’s scenes into three clear ‘acts’.
Act 1 – the set up where your character’s aim/desire is revealed. Sometimes the solution to the coming problem is foreshadowed here.
Act 1 – the set up where your character’s aim/desire is revealed. Sometimes the solution to the coming problem is foreshadowed here.
Act 2 – after some initial progress, an obstacle/problem appears to thwart your character's intentions. This builds as the character tries (unsuccessfully) to resolve the issue – often in three different ways. (The rule of three is beloved.)
Act 3 – The all-is-lost moment followed by your character discovering and implementing the solution. All is resolved. Happy Ending! (This is pre-school television, people, not dystopian YA.)
Once the structural/character/story issues are resolved (you may do up to three drafts of the outline), you’ll be sent to the first draft of the script. Scripts are usually written in Final Draft.
Lengths vary from show to show depending on whether the programme’s episodes are 7- or 11-minutes long; the animation style; type of title sequences; dialogue speed; amount of action, etc. Always ask to see sample scripts so you can follow the length and formatting accurately.
You may do up to three drafts of the script. Payment is split in various ways but usually you get a percentage when you are commissioned to go to outline, another payment on delivery of the first draft, and the final part when the script is signed off.
At every stage you will receive notes from the team (always from the script editor and producers but you'll often also get feedback from educational consultants and the broadcaster). These notes are all compiled by the script editor.
The better you are at working with notes, the smoother the whole process will be. Always build in enough thinking time to solve story issues. Give a LOT of thought to how your story will play out visually. Think in images, not words.
Writing for children's programmes is not the easy option in scriptwriting, just as writing a picture book is not the easy option in children's books. Stripping a story down to its essence while making it full of character, humour & charm, takes skill & practice.
The industry is full of dynamic, funny, creative people. You may find it's the best-kept secret of the many possible writing careers out there. You can make a living while honing your storytelling, characterisation & dialogue skills. (And see your name on screen!)
I'll answer specific questions in another thread but hope this is helpful to those interested in scriptwriting for children's TV. I find working in more than one genre helps develop different skills (& makes maintaining an income as a writer possible). Just be prepared to juggle!
