So I’m sitting on the couch at 8:30 on Friday night, reading. The kids are in bed. My husband is beside me, K.O.’d by the flu.
The phone rings. It’s my manager. I know it’s not going to be about my pilot. The network has only ordered Jerry Bruckheimer’s drama so far, the one starring Toni Collette. It still has four other big-name “commitment” projects to announce before it gets around to deciding on no-name hopefuls like mine.
My manager has assured me we won’t hear until next week, but that the team is still “cautiously optimistic.” I don’t know why. We’re up against 60 other drama pilots. It’s the first pilot I’ve ever sold.
On the phone he says, “Hold on.” Then I hear a lot of beeps and background voices as he conferences in our producers, our studio execs, and then, finally, the network.
That’s how I learned CBS had picked up my pilot.
To be honest, the conversation after that is a blur. There were a lot of congratulations and thank yous. I do remember someone mentioning the name of a legendary star who is being considered for a leading role, after which my brain exploded.
I woke up my husband. He managed a weak, “That’s great, honey—I’m so proud of you,” before he passed out again.
So I went to Facebook, as you do. I told friends that CBS had picked up my pilot. Which is the language my team had used.
As little as I know about the TV business, apparently my friends know even less. I am still getting texts asking what time they need to set their DVRs. So, here, an explanation, courtesy of TVLine.com:
When a network orders (or “picks up”) a pilot, they’re asking its writers/producers/studio to cast and produce a very close facsimile of what their series’ first episode will look like. Each pilot is reviewed by network brass, and then typically put into testing before a decision is made on whether it will land on the schedule (for fall or midseason).
That’s what happens next. We shoot the pilot. And only the pilot. Which will only ever air if the network sends it to series.
Meantime, there’s lots to do. First we cast and hire actors, a director, and many other people whose functions I still have to learn. We started talking lead actors a while ago, and the discussions always made me giggle. It’s weird to think of someone famous playing a role named after my dad.
On my end, I need to cut ten pages from my script. Ten pages! A producer from CBS’s THE GOOD WIFE was kind enough to clock my script for us, and that’s what we need to bring it in on time.
So here I sit in my attic office in freezing-cold New Jersey (19 degrees!), fussing with my script, nipping here, tucking there. Just like I’ve been doing these past few years, writing in cozy obscurity. Hollywood (82 degrees!) seems very far away—and a significant part of me wants to keep it that way. But change, it’s a-coming.Tweet