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Is it just us or does the process of selling a TV show or film in Hollywood seemed cloaked in mystery? Like how is it done? And then once you sell it, how does it make it to air? There are many, many steps. So in this episode, we cut up about what it means to actually sell a show, the roles studios and networks play, why selling a show doesn’t guarantee it being greenlit, and why films are often easier to pitch than TV shows.

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A breakdown of our chat:

(00:04:56) Felicia’s experience of selling her first TV show

(00:06:25) What happens during open writing assignments (OWAs)

(00:10:53) The role of the studio and network when pitching a TV show

(00:12:22) Setting up a show doesn’t mean you sold it

(00:12:50) Understanding if-come deals

(00:13:53) Next step after setting up an if-come deal

(00:16:44) The challenges of getting a show on the air

(00:18:38) The process when taking out a project yourself vs. an OWA

(00:21:23) How the wrong attachments can hurt a project

(00:23:55) Writers needing to wear their producer hats when pitching a show

(00:26:24) Development hell

(00:27:08) The difference between pitching a TV show vs. a film idea

(00:30:37) Films taking a long time to make

(00:30:59) How HONEY CHILE and other entities can position themselves to be more involved creatively

(00:32:00) Selling a project doesn’t mean it’s greenlit

(00:33:07) Our How We Create segment where Felicia, Dria, and Georgette share things inspiring them this week

HOW WE CREATE Recommendations

Felicia: Old Black ‘90s sitcoms

Georgette: The film Zola and Amazon Prime’s Mr. and Mrs. Smith

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PRODUCTION CREDITS

This podcast is a production of The Create Daily. It was produced by Georgette Pierre and executive produced by Felicia Pride. It was edited by Wize Grazette of the Indie Creative Network.

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