
The week leading into upfront week has always been hectic but this year, that was taken to another level with a lot more early pickups than previous years. The Saturday morning before upfront week last year I was walking in and out of my daughters’ ballet class, monitoring the latest on ABC’s haggling with WBTV and 20th TV over the sizes of the orders for V and The Deep End. NBC didn’t renew Chuck until that Sunday afternoon. In comparison, heading into the weekend this year, NBC and Fox are done with all their pickups and renewals. (Both got a head start a couple of weeks earlier with straight-to-series orders for LOLA and Terra Nova, respectively). ABC is pretty much done too, and even CBS, the epitome of tradition, handed an early series order this year to Chuck Lorre’s Mike & Molly.
Why were there so many early orders this year? “It’s all about getting a jump start on writers,” one TV lit agent said. “There is competition to get the best writers, and the shows that are picked up late are at a disadvantage.” ABC’s Modern Family got an early pickup last year and locked in writers quickly. The show’s writing staff went on to win a WGA Award for comedy. Complicating things are the shrinking writing budgets for series that are often just north of $100,000 per episode. The producers “would put (prospective writers) on index cards with their quotes, trying to create the best combination to fit the budget cap,” another TV let agent said. To do that successfully, it’s important to have access to a large pool of talent and you can only do that if you’re early on the marketplace. The same goes for bubble series, which have to fight to keep their best writers from going to a show with a more certain future.
The networks used to delay the series pickups until the last minute mostly for dramatic effect so they can have an element of surprise at their upfront presentations. But with information being disseminated instantly these days, that is practically impossible. So why not give your spanking new show the best possible chance of survival by allowing it to go after the best writers out there?
TV Editor Nellie Andreeva - tip her here.





This has been one of the best pilot seasons in years particularly for NBC. Nikki Finke implied that NBC has picked up some really great pilots this year!
this is quite possibly the most intelligent thing I have ever read on DHD.
good work.
If the networks didn’t insist on using veteran actors in every series (Christian Slater really needed another pilot?) there would be a lot more money for the writing staffs and this wouldn’t be an issue. TV used to create stars, not be a retirement home for those whose careers have stalled.
“TV used to create stars, not be a retirement home for those whose careers have stalled.”
Tell that to Kiefer Sutherland and Sarah Jessica Parker.
Agreed on “TV used to create stars, not be a retirement home for those whose careers have stalled.” ‘Tis sad but true. But don’t be rippin’ on SJP – she’s opened doors for women in TV AND FILM like there’s no tomorrow – amen to that! Enough with the old white dudes headlining movies….we’re just not that into you.
it’s not the stars, it’s all the non-writing producers that suck up the money
A $100,000 writing budget will not get you a proper writing staff. Studios need to up that number if they want to produce compelling, sustainable shows. They think nothing of paying supporting actors 50 an episode, but rarely do they pay writers that much. Studios: Up your writing budget and raise your chances for success.
Nellie Andreeva deserves a Standing Ovation for having incredible up to the minute – accurate coverage of everything going on this pilot season. Nellie you are one of a kind! We all appreciate you sharing your information & insights with us. Thank You Nellie!
How much do you think the writers should be paid? Most average American people make $750-$1000/week. So I don’t see why writers should be complaining if they make ONLY $5,000/episode. That will cover food, monthly expenses, Ferrari payments, and a very nice Santa Monica condo. Writers need to stop being greedy and take opportunities that they are given to them.
uh… 5k x 20 episodes (or 9 for that matter) is NOT a lot of a money. Plus writing a few episodes a season, lets say 3 to 5 at 30k each and your total BEFORE commissions is a whopping 135k to 250K. That’s before the 15% deduction for agent and attorney. Certainly not bad by average American standards but this is the entertainment industry. If you think a net of 115k gets you a house and Ferrari you’re a doof.
The writers fuel the creation of a lot of economy and deserve to share in success.
Love this trend and love this report. Even the adorably closed-mouthed CBS / CW teams (hi Les!) may be mostly locked down, but not like before…
My other favorite trend is casting adjustments & re-shoots. In seasons past, so much great development died for what could have been an easy actor or script tweak. But when the script & cast & production team are strong, why kill the whole project for a minor issue?
Seems like now there’s more of an opportunity for bug fixing while pilots are in beta? Testing works when it’s used this way. TV gets better & everybody wins.