The Art of the Pitch: Shared Strategies Of TV’s Top Showrunners (Part 2)

Beyond the individual show origins, the panelists also offer insights into the pitching process itself, sharing both personal rituals and strategic approaches.

Mara Brock Akil employs music as a ritual, curating playlists that help her “get the tone, get the vibe, get the texture” before a pitch, also serving to relax her.

Eric Newman, drawing from his background as a movie producer, adopts a strategic mindset. He operates on the belief that “every executive that you’re going to pitch to wants to say no because it’s safe to say no.” His strategy is to anticipate every potential “no” and provide a “safe yes.'” He analyzes common objections—“we got too many of these,” “it’s too expensive,” “this period doesn’t work“—and prepares an answer for each. The goal, he emphasizes, is to make the executive feel comfortable and excited enough to greenlight the project.

Mindy Kaling enjoys pitching for its performance aspect. As a performer who hasn’t acted much since having children, she relishes the opportunity to “be funny and tell a story.” She sees the pitch as a moment where “the idea is perfect,” unburdened by the practicalities of production, budget, or casting. It’s a space for creative purity and unadulterated storytelling, even if it’s just to “six smiling faces who pass her show.”

Mike Schur has an invaluable “ritual”: pitching the night before to his wife, JJ Filton, also a writer and showrunner. Filton, despite her loving nature, has a “terrible poker face.” Her unvarnished reactions—from visible boredom to genuine excitement—provide Schur with immediate, honest feedback. “That is an invaluable thing to have a partner who is also a writer… who will tell you the truth,” he asserts, stressing the importance of receiving unvarnished criticism to refine and improve a pitch.

Molly Smith Metzler, in a bold move, brings “nothing with me” to a pitch. This forces her to truly know her material, preventing her from becoming reliant on notes or a script. While not a universally recommended approach, it speaks to her confidence and mastery of her vision.

Key Takeaways for Television Writers:

• Embrace the Unexpected: Be open to surprising audience interpretations and external factors that can shape your story.
• Find Your Unique Angle: Don’t shy away from difficult or underexplored subjects. Sometimes, the hardest stories are the most rewarding and impactful.
• Adapt with Vision, Not Just Fidelity: When adapting IP, identify the universal truths and emotional core, then recontextualize them for contemporary audience.
• Strategic Pitching is Paramount: Understand the executive’s perspective. Anticipate objections and make it easy for them to say “yes.” Highlight the safety and potential of your project.
• Rehearse for Honesty: Seek out trusted, candid feedback on your pitch. A “poker face” friend or partner can be an invaluable asset for refining your presentation.
• Own Your Performance: Whether it’s through music, confident delivery, or minimalist preparation, find what makes you comfortable and authentic in the pitch room.
• Casting is Chemistry: Trust your instincts when putting actors together. The magic often happens when unexpected talents align. Support burgeoning talent with experienced mentors.
• Storytelling is a Continuous Dialogue: The pitch is just the beginning. The journey involves adapting to production realities, evolving cultural landscapes, and continuous collaboration.

The insights from Mara Brock Akil, Mindy Kaling, Mike Schur, Molly Smith Metzler, and Eric Newman underscore that while talent and a great idea are fundamental, success in television also hinges on strategic thinking, deep understanding of the audience, and an unwavering commitment to the collaborative, often challenging, creative process. The pitch, far from being a mere formality, is a crucial step in translating a personal vision into a viable television series.

by Staff Writer

From our in-house editorial team.