Writers have entire worlds in their heads, filled with characters, locations, stories, and consequences. It’s a lot to keep track of when creating a story or series, which is why series bibles exist.
What is a Series Bible?
There are two forms for a Series Bible:
The TV Series Pitch Bible
This is what it says it is. It’s a document put together to pitch a television series. The document, which can vary in length from one to three pages to more than 20, contains all the details about the story, characters, world, and at least one season’s worth of episode summaries. It includes the information needed to pitch your idea. That means location details, characters, story ideas, world building—everything required to both sell the idea and give an idea of budget. It goes beyond the treatment in detail and scope, but includes the details of a treatment. Ideally, this document should stay somewhere between five and 15 pages, if possible.
Think of the TV Series Pitch Bible as an in-depth outline of hours of television that are not yet written. The Pitch Bible does what a screenplay does for a film. It gives a solid look at what the show is about, samples of the writing, characters, tone, location and theme.
The reason you write a TV Series Pitch Bible is to show off your idea and prove that you have the vision and skills to pull off a television series over multiple seasons.
This type of series bible serves a specific purpose.
A Series Bible
A series bible is broader in nature. It takes the pitch bible and keeps going. It is more comprehensive and grows as the series continues. Think of it as a reservoir for a story’s canon to help maintain continuity. It is a writer’s best tool to maintain details across a series. It contains all the information for a series, whether on television or in novels.
Many writers maintain a Series Bible to track details. It helps make sure you don’t change the spelling of someone’s name or their eye color or favorite flavor of ice cream. It keeps track of story, character, setting, and every other detail in that world. In short, it is a living document that acts as a database of details.
Note of Caution:
Both of these documents go by many names in the industry. You can call them whatever you like, as long as everyone knows what you are really talking about. Many people refer to the bible simply as “The Book.” Others call it an expanded pitch, pitch bible, or even treatment (which is not accurate in the strictest sense). If someone asks you to submit something, clarify what they are asking for so you don’t send the wrong thing.
If you are using a Series Bible to keep track of details for your own writing, then call it whatever you like. The important part is that you consistently track the details that your readers will notice if changed. Keeping a Series Bible saves you time paging through manuscripts to find mention of one tiny detail. Keep your bible up-to-date and you will never have to waste time looking for that information.
But let’s focus on the Television Series Pitch Bible because it contains all the same type of information as a writer’s bible would. We will address the novel-writer’s bible in detail in the third part of this series because it will build on the information provided in these first two blogs.
Why Do You Need a Pitch Bible?
Most studios expect a Pitch Bible during a pitch. A script alone is not enough to prove there is enough material to carry a story through an entire season and beyond. Even if a producer doesn’t mention bringing a Pitch Bible, it’s a good idea to include one. It’s tough to sell an entire season off one pilot script. Even if you convince the people in the room, they have nothing to take with them to sell the higher ups in the studio.
Pitch sessions happen quickly. There isn’t time to read multiple scripts or even a single script during a pitch. The Pitch Bible lets you condense your vision for the series into a smaller document that can be absorbed and shared.
It’s best to take both a Pitch Bible and a script for the first episode. You can write them in any order—the script and then the bible or vice versa.
It often helps to visualize the entire show by creating the bible first, but do what works for you. If you can see that first episode in your head and write it quickly, do that. Then use that first episode as a launching pad to figure out the rest of season one and beyond. You can always edit the script for the first episode if needed after creating the bible.
How to Write the TV Series Pitch Bible
Use your storytelling skills to hook the audience. Tell the story in a way that makes them want to read more, see more. Make them care about your story and characters in your pitch. This means leaning in to your creativity. Don’t look at this as a dry sales presentation, but as a way to tease your audience and intrigue them. Make them want to back the show so they can find out what happens in the end.
The best way to learn how to write a pitch is to read some successful ones. They are available on the Internet. You can find series pitch bibles for dozens of shows. Look at them and learn how to pitch in a way that makes the story come alive. Some are longer than others, but they all have certain qualities in common. They strongly convey story, style, tone, and a feel for the characters.
The important thing to remember is that it must tell and show enough to make someone want to buy it, back it, support it. That’s the point of the TV Series Pitch Bible.
Writing a Series Bible
The Series Bible is a bit different. It exists to preserve continuity. It is not designed to sell or pitch a series, but to be consistent once that series is in production. Series Bibles refer to both television series and novel series (or any other kind of series that requires continuity or relies on canon). We’ll discuss how to do this in the next blog.
Formatting a TV Series Pitch Bible
Look at your favorite samples and then organize your materials into a format that works for you. Make sure the pitch is easy to navigate and understand.
There are no industry standards when it comes to length. Most will say that shorter is better (somewhere around 5 to 15 pages), but it varies from producer to producer, director to director, and writer to writer. If you are the type of writer who does detailed plots before you write, then your bible likely will be long. If you are not that type, then you may be good with a shorter bible. Do what suits your story. Use the length you need.
It is easier to grab a studio’s attention with a concise approach. But there are exceptions to this rule, as always. The Pitch Bible for The Wire was 79 pages long and available online. If you look at it, pay attention to the date on the document. It is dated two years before the series aired. It also contains detailed information on the series, including how many beats per episode there would be (18-27). Not all bibles need that level of detail, at least not at the pitch stage.
Samples of Good Series Bibles
Again, your best resource for this is to look at examples from successful shows. There are many you can find with a simple search. I highly suggest looking at the bibles for Dirk Gently’s Holistic Detective Agency, Stranger Things, Freaks and Geeks, Adventure Time, Carnivále, Lost, Fargo, Grey’s Anatomy, and New Girl. They are all available online and easily accessible, as are many other great examples. Pick your favorite shows and do a quick search to see if you can find their bible.
Now I am not suggesting that you look for bible examples to copy, but rather to read for inspiration. The ones mentioned above do a great job capturing the tone and feel of the shows they are representing. That approach works best, but there are many series’ bibles that take a more practical approach, like True Detective. Use the style that matches you and your pitch.
What to Include in Your TV Series Pitch Bible
There is no one right way to write a Pitch Bible. Choose a format and style that matches the series you are pitching. But there are key points of information that should find their way into the Pitch at some point, even if it not in this order or listed as separate points.
A First Impression—Optional
You may want to start with a quote from the series itself or some other source to set the mood. Or include location shots or concept art to set tone.
Table of Contents
This helps producers, agents and executives scan through your pitch more easily. This is a must if your bible is on the longer side (more than five pages).
Working Title
The series should have a title, even if it changes later on, as many do.
You need to claim your idea by putting your name on it. It’s also how people know who to hire and pay.
Contact Details
This one seems obvious, but you’d be surprised how many people forget to include ways to get hold of them after a pitch. Use your agent’s details or your own if you are representing yourself (which is not the best idea unless you are a production company). Even then, you will need someone skilled at negotiation and contracts to complete the deal, such as an entertainment lawyer. Use their details for contact purposes.
The Format
This is where you let the studios know how many episodes of a particular type (drama, sit-com, police procedural, medical drama, etc.) you want to produce and how long those episodes will be. Include the genre in the format or separately. Also include if the show will be episodic or serial. That is, are the episodes standalone or do they build on each other to tell a longer story? How many episodes are you pitching? Ten? 13? 22? How long will they be? Thirty minutes or 60? Are they a serialized drama or a sit-com? You need to pitch a specific configuration, be it 10 x 30, 22 x 60, or some other number. Be sure to include the genre too. It makes a difference if you are pitching a crime drama vs. a sit-com. Both have standard formats and runs.
Series Logline
A sentence (ideally 25 words or less) to a short paragraph that summarizes the series. Think of it as your elevator speech for the idea. The shorter the better.
One-Pager
Expand on your logline to one page. Go into more detail about the series by adding up to five paragraphs about the show on a one-page document. This is what will be shopped around if someone reacts to the shorter logline. If your show is serial, meaning that the story builds over several episodes, the one-pager should explain that story arc. If, however, your story is a series of self-contained episodes, give an idea of what those individual episodes would be like. Add in any major plot points or character development that will happen in the first season, even if the show is episodic instead of serial.
Why This Idea?
You may want to include what inspired you to write this story and why you think it would fit a particular studio. You can do that separately within the pitch or include it in the one-sheet, if it fits the pitch mood.
Characters
Introduce your characters with a quick breakdown of their story and backstory. Who are they? What role do they play in the series? Be sure to include their internal and external conflict, flaws, fears, secrets, and key points in their character arc. Include all major characters and any side characters that play a significant role in the series.
Theme
What is the theme of the show? What’s it really about? Why do you want to tell this story?
Location/World
Where does this story take place? Is it mainly in a police station? A hospital? A foreign country? A certain section of the city? A school? This lets the studio get an idea of your location and set budget. A sweeping historic drama set in a foreign country will cost more than one that can be filmed on set.
Tone and Style
What do you see as the final look of the show? Is it creepy Gothic? Modern? Futuristic? Heart-warming? Gritty? What feel are you going for? What role does that play in the series? Is the tone related to theme? What does the show look, feel and sound like? You can include as much or little as you want in this section, depending on how important your world building and sets are to the story itself.
Season One Overview
This is where you summarize the entire first season of the show. It’s best to do this with an introductory section that lays out the line of the first season, followed by a paragraph about the story arc for each episode.
Season Two And…
Give a glimpse at your future plans for the show. Where do you want it to go? How long do you anticipate it will run? Is there a hard end to the story or is it open-ended? Keep this short. One to two paragraphs is sufficient. The point is to show that the show has “legs” and can sustain the story for more than one season, unless this is a limited run series that is designed to run in a single season.
Longer-Running Story Arcs
If your series has story or character arcs that will span seasons, include that information. Show how the story or character will progress over time so the producers, studio execs and agents can evaluate the future potential of the story.
Other Information
If your pitch requires more information to sell your story properly, add that information with a new topic. It could be anything that is relevant to your series. Perhaps it is more information about the lore the series it based on or additional history to make the details come to life. Whatever it is, add it. You don’t want to leave anything important out of this document if it could reduce your chances of being picked up by a studio or agent. This may include concept art. If you choose to go this route, use a professional to design the art.
The TV Series Pitch Bible is about risk and story. Is the story strong enough and impelling enough for a studio to invest their money into it? Is it visually compelling and will it work on television? Will the idea translate to other audiences and outlets? Have you shown the value of this idea? Have you hooked your audience and investors? What is missing to make the sale? If you can think of something that will turn the tide in your favor, add it.
Types of Series Bibles
There are six main types of bibles used in the industry and by writers of all kinds. They include:
- The Framework Bible works as a glorified outline to define the series and storylines.
- The Pitch Bible, also called the Sales Bible, exists to sell the work to another entity. It is a sales and marketing tool.
- The Commissioned Bible comes after selling the series. It involves more development information and details how the series will be cast, shot, edited, etc.
- The Season Bible digs deeper into the details for a particular season. It serves as a guide for writers, producers, directors, and other interested parties.
- The Production Bible breaks tasks into their component parts. It is more of a working document that guides production. It is the natural progression of the bibles that come before this one. It is often split off into its own book.
- The Rules Bible is a document that outlines the laws or rules for the show itself. How the world works, the characters act and interact, the relationships, and every other detail that needs to be seen as a rule for the story to work. This may include magic systems, future technology, supernatural elements, lore for the story, etc.
- The Pressbook is the final type of bible in the industry and it acts as a press aid. It includes marketing materials, teasers and trailers, bios of the major actors and key players in the production. It contains anything that will help either market or sell the rights to the series for foreign markets, alternate outlets (say cable syndication), and tidbits for the media to promote the series launch. It is a multi-use document tailored to whatever is needed, whether that be sales or press. It also can be called a Sales Bible or Syndication Bible, as needed.
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All of these bibles need four elements to work:
- The Concept
- Location Details—including setting and shooting locations
- Character Arcs and Biographies
- Storylines
- Searchable
- Easy to Use
- Track Tiny Details
- Be Organized
If you are writing a longer bible, then start with the basics the same way you would for a pitch and then expand. Keep in mind that your bible needs to be:
The Point of the Series Bible
Although using the word bible may imply a set of immutable rules, it doesn’t have to be used that way. The bible should be viewed as a set of guidelines that help maintain the story arc and characters’ traits and motivations but allow for growth and new story lines that will enhance what has come before. As long as your new storylines don’t contradict what has happened to date or seem out of character for your characters, then growth and new ideas should be developed. That is what keeps a story alive, especially in a series. The constraints can be helpful in sparking the imagination.
The idea of a series bible is to capture all the details that need to stay the same throughout the series—character details (physical traits), names, locations, layout of homes, towns, world rules, etc. Be as comprehensive as you can be. This may mean tracking many diverse details, such as a character’s favorite pizza toppings or dislikes. But it should not be viewed as restrictive.
It’s more of a challenge to maintain continuity while building on characters and story. If you mention that a character dislikes something in book one, you will have to introduce a reason for a change if you want that character to now embrace that item or food. Change is allowed if there is a reason for it. It all goes back to motivation and story logic.
How to Turn Your Pitch Bible Into a Series Bible
An active Series Bible for television includes everything a showrunner will need to produce the show or everything a novelist needs to write a long series that is consistent.
The Series Bible includes all of the details from the TV Pitch Bible and then some.
Here are some other things to include:
Research
What have you learned and where did you learn it? How you are going to keep the series authentic? Are you going to hire expert consultants? What medical professionals will you have on hand to check the details for your medical show, or legal consultants for your legal drama? Where will you go for answers in procedure or equipment?
Include your sources and maintain a database or file of any resources you used to write the initial scripts. Add to that library as you go so you have a living resource of information as you move forward. Maintain a running bibliography and list of experts contacted.
Showrunner’s Vision of the Show
A showrunner oversees the writing and production of a series. They have complete managerial and creative control over the show. Their version of a bible goes deep into every detail needed to maintain storylines, production calendars, call sheets, locations, camera setups, etc. Their bible needs every detail related to the show, including the technical stuff and the budget. It is a working document and updated regularly.
Story Drivers
We’re talking throughlines. What drives the story forward? What holds it back? What are the motivations for the characters? It’s all about the throughlines running not only through an episode but the series as a whole.
Dynamics Between Characters
Showing how your characters are connected and how they relate is important to many stories. It may not be enough to include character biographies. You might need a family tree or character chart to show relationships. You might need an organizational chart if the show takes place in a business setting. Even in friend groups, you may want to chart relationships both in the present and the past. Who dated? Who has a past fraught with drama? These dynamics inform how the story will unfold and how the actors will need to interpret their lines.
Shooting Schedule
The shooting schedule takes the script and marks it up for maximum efficiency in filming. Directors don’t shoot a script from beginning to end. They break it up by location to take advantage of camera setups. It takes time to change locations and even to change shots within a location. It’s not just moving a camera from one side of the room to another. You have to move all the lighting, sound, cords, crew, etc. That all takes time and time is money.
To reduce the burden of moving equipment and crew, directors will group all shots from the same angle together and shoot them back-to-back before moving to another angle in the same room. Then they move locations and do the same thing there. If they can shoot scenes from more than one episode at a time, they will. This rarely happens in a long running show, but it is common in a film.
The shooting schedule breaks all of these locations, times, setups and other details down into a schedule. If a scene runs long, the schedule has to be adjusted. If you are going to be part of the production team, the best software to mark up scripts and create call sheets and other production forms can be found at StudioBinder.com.
Ground Rules
This is an important addition for all writers. The ground rules set up how your world will work. It could be a description of a hard or soft magic system, a dystopian government system, a futuristic society, or even how certain characters must operate. Think of the ground rules as defining how your story, world, and characters work. You can go into as much detail as needed.
Maps
This is self-explanatory. If you have a fantasy world, a map is a must. But you may want to add floor plans for sets within your world. It’s best to have sketches of these in mind for popular locations so you can be consistent with the details. For example, where the bed is in relation to the bookcase and door. You don’t want those kind of details changing mid-book. Smaller maps also help for fictional towns or historic settings that used to look different than in modern times. Add whatever is needed to keep things straight in your mind.
Philosophy & Religion
If your world operates according to a specific philosophy or religion, add those details too. What is the crux of the philosophy? How is it reflected in the characters and world? How are the basic tenets of the religion in place? Who practices it and why? Who does not? What are the conflicts that arise from these philosophies and religions? How do they add to the story? How do they create tension or inspire doubt?
Budget
If you are selling or producing a television series or film, budget matters. Everything in film costs more than you would imagine. Each decision in how to shoot a scene carries a cost. Figuring out the practical side of the budget will help in editing a script or screenplay to accommodate producer’s budgets.
Other Details
The Series Bible records everything, no matter how tiny. It tracks those seemingly innocuous things you may have to reference later. You don’t want to say that a character has an allergy to pickles and then have him eat a deep fried pickle in an episode 3 seasons later. Track it all. Refer to it before you write and again in edit. Or hire a continuity expert to review every script or book to catch all those nagging details that will annoy your audience. If you are a novelist, you need to track characters and details across the series too. The use remains the same. It’s all about continuity.
Programs to Use
You can use nearly any software program or templates as long as they work for you. The way you track the details doesn’t matter as much as the information captured.
That being said, there are some programs specifically designed to track these types of details in an organized and searchable fashion, such as Campfire Pro, Scrivener, World Anvil, Notion, and others. Some are easier to set up than others. But once you have the template created, you can replicate it easily enough. This is true for Scrivener and Notion, in particular. You have to design and create the templates and databases you’ll use to track the information, but once you do, you can use them for life.
A program like Campfire Pro comes as an organized system, but can be a bit pricey if you decide to purchase the lifetime license for all the modules. There is a free version you can test to see if it will work for you.
Many writers use a well-organized notebook to track details. If you find a hard copy easier to navigate and use, then use that. It’s easy to get fancy with technology and then lose functionality or spend so much time setting up the system that it becomes more of a hindrance to writing than keeping it simple.
There is also an option of a digital notebook. There are several on the market. Whichever system you choose, make sure it can be replicated for future work and that you can use it without much effort. You want something that will keep you focused on writing and not entering data or learning new software.
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