--- name: series-pitch-deck-writer description: "Writes the complete narrative content for a TV or streaming series pitch deck, covering logline, format overview, episode structure, tone, comparable shows, and target broadcaster rationale." status: stable category: media-business subcategory: pitching version: 1.0 eval_score: 4.5 tags: [media-business, pitching, series, broadcasters, development] --- # Series Pitch Deck Writer ## What This Skill Does Writes the complete narrative content for a TV or streaming series pitch deck, covering logline, format overview, episode structure, tone, comparable shows, and target broadcaster rationale. ## When To Use This Skill - You have a series idea and need to prepare for a commissioning meeting with a broadcaster or platform - You have an existing treatment and need to translate it into pitch deck copy - You are applying to a development fund that requires a structured pitch document - A producer or agent has asked for a deck before agreeing to a further meeting ## What You Need To Provide **Required:** Series title, genre/format (documentary series, drama, factual entertainment, etc.), brief description of the subject or story world, intended number of episodes and approximate episode length, target audience. **Optional:** Comparable shows (your own references), specific broadcaster or platform you are targeting, tone words or aesthetic references, existing footage or research, key talent attached. ## How the Assistant Approaches This 1. Opens with a logline that captures the central dramatic or editorial proposition in one sentence — specific enough to be distinctive, short enough to be memorable 2. Writes a format overview paragraph covering genre, episode count, length, and production style, then articulates the series' tone and world in concrete language 3. Outlines the episode arc or series structure (what changes across episodes, what the throughline is), adds comparable show references with a brief note on how this series differs, and closes with a broadcaster rationale that explains why this project fits that specific commissioning slate 4. After the deck copy, provides a "Next Step" note specifying the immediate action before submission: which section needs the most strengthening, whether elevator-pitch-writer should be run to prepare a verbal pitch for the meeting, and how to send (cold-outreach-email-writer for initial contact or direct submission to a known commissioner) ## Output Format Structured document with clear section headers: Logline, Series Overview, Format, Episode Structure, Tone & World, Comparable Shows, and Why [Broadcaster/Platform]. Total length 600–900 words. Written in present tense, declarative sentences, professional but not corporate. Each section is usable independently as a slide caption. Output ends with a "Next Step" note: what to strengthen before the meeting, whether to run elevator-pitch-writer for the verbal version, and how to make first contact with the target commissioner. ## Quality Criteria - [ ] Logline names the subject, the conflict or journey, and the stakes in one sentence - [ ] Format overview specifies episode count, runtime, and production style without ambiguity - [ ] Episode structure section explains what changes across the series — not just "each episode explores..." - [ ] Comparable shows are real, credible, and the differentiation note is specific - [ ] Broadcaster rationale references the named platform's actual programming priorities, not generic praise - [ ] Tone section uses concrete language, not vague adjectives like "compelling" or "thought-provoking" - [ ] Output includes at least one concrete next action the user can take immediately (strengthen a named section, run elevator-pitch-writer, or send via cold-outreach-email-writer) ## Example ### Input Series title: The Last Liguria Genre: Documentary series Subject: Four elderly fishing families in a remote coastal region of Italy who are the last practitioners of a traditional net-fishing method that UNESCO has declared endangered. The series follows one full fishing season — spring through autumn — as each family decides whether to train younger relatives or let the practice die with them. Episodes: 4 x 52 minutes Target audience: Cultural documentary audience, 35+, international Target broadcaster: Arte (France/Germany) Comparables (my references): Clarkson's Farm (intimate observational tone), My Octopus Teacher (immersive natural world photography), The Rescue (slow-burn suspense in real events) ### Output **Logline** Four families. One dying season. THE LAST LIGURIA follows the final year of a centuries-old fishing tradition as the people who kept it alive must choose whether to pass it on — or let it go. --- **Series Overview** THE LAST LIGURIA is a four-part observational documentary series following four fishing families on the Italian Ligurian coast through a single fishing season, from the first spring nets to the last haul of autumn. At its heart is a question every traditional culture eventually faces: what survives when the people who carry it are gone? Shot over eight months with intimate, unhurried access, the series is built on the rhythms of the sea and the compressed drama of one last season. Each family's story is distinct — their ages, their arguments, their silences — but all four are circling the same choice. --- **Format** 4 episodes × 52 minutes. Observational documentary with no presenter and minimal narration. The series uses the visual grammar of landscape filmmaking — wide sea shots, close working hands, late-light interiors — as the primary storytelling register. No recreations. No expert-to-camera. The families are the only experts. --- **Episode Structure** Each episode covers a distinct phase of the fishing calendar and follows all four families in parallel, with one family carrying the dominant narrative weight per episode: - **Episode 1 — Rigging** (spring): The season begins. We meet the families as they prepare equipment and confront the question of who, if anyone, will fish with them this year. - **Episode 2 — The Deep Season** (early summer): Full fishing pace. The work is shown without glamour. A younger family member joins one crew. Tension surfaces in another. - **Episode 3 — Storms** (late summer): A week of bad weather halts the season. In the pause, decisions are made — or deferred. One family announces they will not fish next year. - **Episode 4 — The Last Haul** (autumn): The season ends. Four different endings for four different families, none of them resolved in the way we expected. The series does not tell viewers what to feel about the tradition's disappearance. It observes. --- **Tone and World** Unhurried. Physically precise. Emotionally restrained. This is a series about people who do not perform their feelings for cameras — which makes the moments they break through all the more powerful. The visual world is salt-bleached and textured: weathered rope, grey-green water, kitchens that smell of fish. The sound design carries as much weight as the image. --- **Comparable Shows** - *Clarkson's Farm* (Prime Video): shares the observational intimacy and the comedy-and-pathos of skilled work done by people who take it very seriously — but THE LAST LIGURIA has no celebrity and no redemption arc - *My Octopus Teacher* (Netflix): shares the slow-cinema immersion in a physical, non-human world — but this series is plural and social, not solitary and spiritual - *The Rescue* (National Geographic/Hulu): shares the use of real-event suspense to carry a larger cultural argument — but our suspense is domestic and quiet --- **Why Arte** Arte's cultural documentary strand is the natural home for a series that takes European tradition seriously without nostalgia and without condescension. Arte audiences have sustained long-form observational work — *Human* (Arthus-Bertrand), *Cathedrals of Culture*, the Depardon rural trilogy — and have demonstrated appetite for films that observe rather than explain. THE LAST LIGURIA fits that tradition and brings it to a contemporary story with genuine urgency: the UNESCO endangered-practice designation means this is not a lament for the past but a document of the present, made while there is still time. ## Known Limitations - The broadcaster rationale section requires the user to name a specific broadcaster. Generic output ("suitable for any documentary commissioner") will be produced if no target is given, and it will be significantly weaker. - Comparable shows provided by the user are used as-is. If the comparables are poorly chosen or obscure, the section will reflect that — the assistant cannot independently verify whether a comparable title is known to the target commissioner. - Episode structure quality depends on the clarity of the user's input. Vague concepts produce generic episode descriptions. ## Related Skills - [elevator-pitch-writer](../elevator-pitch-writer/SKILL.md) - [cold-outreach-email-writer](../cold-outreach-email-writer/SKILL.md) - [streaming-platform-pitch](../../distribution/streaming-platform-pitch/SKILL.md)