A Writers Guide to TV Series

The creative industry is full of rules and procedures designed to confuse the newcomer. No matter how talented you are, the film and TV industry in particular can seem like a minefield of confusing, contradictory information. Kelly Edwards dispels all of this with her clear and concise Kelly Edwards’ book, The Executive Chair: a Writers Guide to TV Series.

Kelly Edwards’ book is refreshingly short – about 140 pages. And to the point. Do you not, as I do, want to find out who is looking for what? In this book she lays out a practical step-by-step process to writing for television. Her process is straight forward. She starts with explaining the executive mindset of commissioning editors. I didn’t realise before reading this how TV decides on time slots and genre. Nor did I understand why this is so important. I was also completely unaware of how a writers room works – or how to dress for ’the part’.

Of particular interest int the opening chapters was how Netflix looks for ’taste clusters’. Which are, simple, groups of fans for certain types pf programming so they can deliver more of the same. This is all deep data driven, and I hate to say – points to more AI in the writing process. Burt that’s another topic.

My one critical comment is this:
Her advice for breaking follows a somewhat generic advice on applying for internships and working your way up the ladder. This is all good stuff, but she really hits her mark when she starts talking about developing your style and approach to story.

I found her chapters on making a strategic career plan and creating a pitch deck to be incredibly useful. Without divulging any spoilers, Edwards really cuts to the chase. Here is a step-by-step approach to creating the visual and written assets you will need in order to get a foot in the door. More than that, no one can promise.

Reading this book will also inform you of the specific requirements of a TV show. How you introduce characters and develop multiple plotljnes.

Finally, she advises on how to take criticism of your work. Reject Rejection I suppose one could call it.

Although this book doesn’t specifically deal with storytelling, it is incredibly useful. Edwards starts at the deal’s end: the selling of your script. And works backwards. For storytelling for the screen, one can relate too many other tomes on the subject. it’s the practical advice of how to actually deliver a story in the right format for the right audience that appeals to TV that is so wonderfully helpful.

One always wonders about the credibility of an author. In this case, what does Kelly Edwards have that qualifies her to write about a Writers Guide to TV Series?

Kelly Edwards worked for years as a television executive. She sidestepped into writing. She is a Sundance Episodic fellow, and is a mother to boot. She is currently a writer on the Fox drama Our Kind of People. This book is the result of living on the sharp side of TV production. This sounds pretty decent to me!

If you need another reason, it is published by one of my heroes: Michael Wiese. Filmmaker, Author, Philosopher and an amazing man – his books are simply the best for filmmakers.

If your attention span is short, as mine is, you will find this refreshingly brief. And containing Gold Nugget after nugget.

Get your copy here: The Executive Chair: a Writers Guide to TV Series

Elliot Grove

Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.

Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.

Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.

I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.

I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.

I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.

Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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