Ever watched a TV show and wondered ‘How did they make this?’

From a writer first getting an idea to a showrunner delivering a finished season to a network, there are numerous steps in the making of a TV show, and not every journey from page to screen is the same. Some TV shows get made after years – sometimes even decades – of a TV writer paying their dues. Other TV shows are quickly greenlit. Some shows are shot in a studio. Other shows are shot at multiple locations. Some are designed for a network. Others for cable. Every scenario is different and dependent on various factors.

That being said, there are 5 stages to the making of pretty much any TV show:

1. A Pilot is Written

First and foremost, a writer has to create a teleplay for “a pilot” (the first episode of a proposed series). A teleplay is a document, similar to a screenplay, but it’s formatted specifically for the type of TV show the writer is imagining.

There are various templates for specific kinds of TV shows. The most common being:

One-Hour Network Drama (Grey’s Anatomy, NCIS, Hannibal)

One-Hour Premium Cable Drama (The Sopranos, The Wire, Breaking Bad)

Thirty-Minute Multi Camera Sitcom (The Big Bang Theory, Friends, How I Met Your Mother)

Thirty-Minute Single Camera Sitcom (New Girl, 30 Rock, The Office)

Not only does the page count vary between dramas and sitcoms, each of the above templates have different act breaks and different tones and possibly even ratings (for example, explicit language, violence and sex is reserved for cable). 

Regarding the camera differences for sitcoms: “multi camera” means the show will be shot in a single location with multiple cameras filming the cast during a taping of an episode (thus keeping the production cost down); a “single camera” sitcom is shot with a single camera and multiple takes for a more cinematic look and feel. These days, all dramas are shot in this manner. However, as noted, the act structure and tones can change drastically depending on whether the pilot is envisioned for network or cable (original programs on streaming channels tend to follow the premium cable template).

Regardless of what kind of show the writer wants to create, the pilot ideally introduces all of the major characters and the world of the show (this is referred to as “worldbuilding” in the industry). The pilot should also illustrate exactly what kind of show this proposed series is going to be and suggest its trajectory (i.e. the overall series arc in addition to the pilot’s specific plot).

Some writers will also create a “Show Bible” as a companion piece for their pilot. A Show Bible is a document that outlines the proposed series and includes a description of the major characters, locations and overall series arc. It may also include episode breakdowns and images to help further illustrate the tone and look of the series as with a pitch deck.

Tina Fey in '30 Rock'

2. A TV Show is Pitched and Developed

Much like with a feature screenplay, a writer will seek out representation  — a literary manager or agent — who will help them to develop a Show Bible (if the writer hasn’t already created one) and a verbal pitch. Unlike a feature film screenplay, which typically has a self-contained narrative, a pilot is just a starting point for a proposed series. Because of this, it’s necessary for the writer to pitch the series to interested production companies, studios and networks.

As with a screenplay, sometimes there will be talent attached to a pilot: actors who have agreed to play the main roles and/or a director who has agreed to direct the pilot. If these attachments are considered valuable, the chances of the pilot being sold and developed by a studio or network will greatly increase.

If producers and studio/network execs are interested in further developing the pilot and proposed series, they’ll purchase the pilot and negotiate an optional deal if it ever gets shot or “goes to series” (i.e. the pilot gets greenlit, shot and a series is ordered). But before all that can happen, producers and assigned execs will develop the pilot further. This usually involves the writer receiving notes and doing a rewrite (similar to the “screenwriting development” stage of pre-production). If everyone involved is happy with the pilot, it’ll go to the top brass of a network and await a verdict.

3. A Pilot is Greenlit and Shot 

If the top brass likes the pilot and think there’s series potential, they’ll greenlight (i.e. approve and bankroll) the production of a pilot. If there isn’t already one attached, a director will be hired and a cast and crew will be assembled (again, similar to the pre-production of a movie). After all these elements come together, they’ll shoot the pilot in the hopes that the network top brass will be happy with it, thoroughly sold on the concept and “order the series” (i.e. the studio and/or network will bankroll and produce the series).

4. A Series is Ordered and Goes Into Production

If the top brass approves of the filmed pilot and orders a series, it’ll typically only be one season to see how the show fares with the public. However, if it’s a project with more established players, sometimes two seasons will be ordered.

The network or studio will hire a showrunner, who oversees the entire production of the TV series and is responsible for all major creative decisions. Sometimes the show’s creator and writer of the pilot will also be the showrunner, especially if they have some television experience or clout within the industry. Many times though, it’s someone brought in due to their resume.

In most cases, the showrunner will put together a “writing staff.” This is a collection of writers who meet regularly — usually at a location provided by the studio or network — to brainstorm and discuss episode ideas and plot arcs. The showrunner is in charge of “the writing room” and has the final say on what will or won’t make it into the show. After ideas and plotlines are approved, certain writers will be assigned to write certain episodes.

As the episodes are being written, directors and crew will be hired to shoot the series. A casting director will round out the cast (the stars of the series are likely already attached). Depending on the type of show, a location scout will search for and select filming locations. If it’s a multi-cam sitcom, it’ll be shot on a set. There’s usually a locked deadline to begin principal photography and — unlike with movies — everything moves at a very quick pace. 

Bryan Cranston in 'Breaking Bad'

5. A Season of the Series is Shot, Edited and Delivered

Principal photography begins and an entire season of the series is shot. Episodes are usually filmed in immediate succession of each other and, as noted, the process moves quickly. Depending on the complexity of the show, a typical season takes 6 to 8 months to shoot. In general, sitcoms are shot much faster than dramas (especially if it’s a multi-cam sitcom filmed on a set).

After the season is shot, the project moves to post-production and the showrunner works with an editor to create a cohesive viewing experience. This stage also moves quickly because the show is likely to have already been scheduled for a specific time slot by the network. Once the season is edited, the finished product is delivered to the network and the show premieres on whatever channel or platform it’s been slated for. If the public likes it and the ratings are good, further seasons of the show will be ordered and produced.

As stated, there are numerous steps in the making of a TV show, but the primary stages are a pilot is written, a show is pitched and developed, a pilot gets greenlit and shot, a series is ordered and goes into production, and a series is shot, edited and delivered to the network. 

It takes a lot of people to make a TV show, but it all starts with a writer and the world they’re imagining.