Here are 100 books that TV Writing On Demand fans have personally recommended if you like
TV Writing On Demand.
Shepherd is a community of 12,000+ authors and super readers sharing their favorite books with the world.
I’m a professional screenwriter with a passion for story structure. I’ve worked on film & TV projects for more than 25 years – not only as a writer for independent producers and studios such as Warner and Universal – but also as a development exec and creative consultant. Over time, I was shocked to see how many talented storytellers felt stuck between prescriptive paradigms and a “seat-of-the-pants” approach. So I set out to fill that void and defined a more flexible yet powerful method in my first book, Screenwriting Unchained, which I’ve now enthusiastically applied to TV series. I hope you enjoy the books on this list as much as I have!
Navigating the TV industry can be intimidating. Bob Levy does an amazing job of providing an overview of the U.S. TV development process, from a producer’s point of view.
He gives a very clear and detailed explanation of the industry, the processes, and the culture. I love how he explains the terminology, the timelines, the people involved, yet never makes it boring. Levy has worked in the TV industry for more than 30 years, and it shows.
Development is a large and central part of the American TV industry, and yet the details of how it works - who makes development decisions and why, where ideas for new shows come from, even basics like the differences between what TV studios and TV networks do - remain elusive to many.
In this book, lecturer and acclaimed television producer Bob Levy offers a detailed introduction to television development, the process by which the Hollywood TV industry creates new scripted series. Written both for students and industry professionals, Television Development serves as a comprehensive introduction to all facets of the…
I’m a professional screenwriter with a passion for story structure. I’ve worked on film & TV projects for more than 25 years – not only as a writer for independent producers and studios such as Warner and Universal – but also as a development exec and creative consultant. Over time, I was shocked to see how many talented storytellers felt stuck between prescriptive paradigms and a “seat-of-the-pants” approach. So I set out to fill that void and defined a more flexible yet powerful method in my first book, Screenwriting Unchained, which I’ve now enthusiastically applied to TV series. I hope you enjoy the books on this list as much as I have!
Another insightful overview of the TV development process, this time from a writer’s point of view.
This is primarily from a U.S. perspective, but one chapter gives a view of fifteen other countries, which is rare. Pamela Douglas offers the TV equivalent of Syd Field’s Screenplay. She lays out with great clarity the way TV episode structure is taught today – although I believe that talented and successful creators often use other tools to design their series.
From a practical point of view, this book is more useful if you’re developing a network procedural than if you’re developing a serial on ad-free streaming or premium channels, but it’s one of the best books out there if you’d like to explore what I call story format (rather than structure) in TV.
This revised and updated edition is a complete resource for anyone who wants to write and produce for television drama series or create an original series, as well as for teachers in screenwriting classes and workshops. It leads the reader step-by-step through every stage of the development and writing process, offering practical industry information and artistic inspiration. The Fourth Edition leads readers into the future and engages provocative issues about the interface between traditional TV and emerging technologies. It’s also the single most comprehensive source on what is happening in original television drama around the world, with surveys of 15…
I’m a professional screenwriter with a passion for story structure. I’ve worked on film & TV projects for more than 25 years – not only as a writer for independent producers and studios such as Warner and Universal – but also as a development exec and creative consultant. Over time, I was shocked to see how many talented storytellers felt stuck between prescriptive paradigms and a “seat-of-the-pants” approach. So I set out to fill that void and defined a more flexible yet powerful method in my first book, Screenwriting Unchained, which I’ve now enthusiastically applied to TV series. I hope you enjoy the books on this list as much as I have!
This is a short but excellent volume, dedicated to the design of a TV series.
It contains a brief history of U.S. Television, which in itself is enough to justify reading the book. As the title suggests, it focuses particularly on writing a pilot, a key part of any series project. William Rabkin is a veteran showrunner with hundreds of hours of produced shows under his belt, yet I really enjoyed the conversational tone in his book.
Make sure you get the most recent version, as the first edition of this classic dates back to 2011 and Rabkin has updated his book since.
When I finished Writing the Pilot a few years back, I figured I’d managed to cram everything I had to say on the subject in that little 90-page package. But that was 2011, and in the years that have passed, a lot has changed about the television business.And when I say “a lot,” I mean everything. The way series are bought. The way series are conceived. The way stories are told. The way series are consumed. The kinds of stories that can be told. The limitations on content at every level. The limitations on form at every level. And maybe…
I’m a professional screenwriter with a passion for story structure. I’ve worked on film & TV projects for more than 25 years – not only as a writer for independent producers and studios such as Warner and Universal – but also as a development exec and creative consultant. Over time, I was shocked to see how many talented storytellers felt stuck between prescriptive paradigms and a “seat-of-the-pants” approach. So I set out to fill that void and defined a more flexible yet powerful method in my first book, Screenwriting Unchained, which I’ve now enthusiastically applied to TV series. I hope you enjoy the books on this list as much as I have!
This is the companion book for Des Doyle's acclaimed documentary with
the same title (also highly recommended).
Described as “the first ever
feature-length documentary to explore the world of U.S. television
showrunners and the creative
forces they employ”, the documentary is an insightful overview of the
TV creative process, featuring interviews with some of the best
showrunners in the business.
There is simply nothing that beats this if
you want to get a sense of how the industry works
and measure the stakes, the energy, the pressure, the creativity, the
professionalism, and the humor experienced or displayed by these
awe-inspiring storytellers.
The book features a foreword by Hart Hanson
(Showrunner of
Bones, The Finder, Backstrom), an introduction by Doyle, and expands on the interviews featured in the documentary.
Showrunners is an insider's guide to creating and maintaining a hit show in today's golden age of television. The official companion to the documentary Showrunners, this highly informative book features exclusive interviews with such acclaimed and popular showrunners as Joss Whedon, Damon Lindelof, Ronald D.Moore, Terence Winter, Bill Prady, and Jane Espenson.
I like understanding television as culturally situated. Television is constructed along a number of sites: cultural, institutional, ideological, historical, or via the different ways audiences understand it. Interrogating television and what it does as a medium was historically relevant because it was a mass medium. But how can we evaluate the medium in times of highly fragmented audiences? Because of this, exploring Netflix as a new form of ‘television’ has become so important to me. The authors all try to get to terms with how television has changed over its short existence. This helps us understand the medium better, as well as our current moment.
This is one of my favorite books about contemporary television.
It deals with the processes that changed how television was viewed following the changes in HBO-style ‘quality’ television. It also critically explores the ways legitimization and associated words like ‘quality’ work as an ultimately classist system where television works as cultural capital.
Netflix established itself on the back of this legitimization, using HBO-style ‘quality’ TV series like House of Cards and Orange is the New Black. But HBO also used DVDs to ‘filter’ the individual program out from the ‘flow’ of television, which helped Netflix to establish itself as television.
Legitimating Television: Media Convergence and Cultural Status explores how and why television is gaining a new level of cultural respectability in the 21st century. Once looked down upon as a "plug-in drug" offering little redeeming social or artistic value, television is now said to be in a creative renaissance, with critics hailing the rise of Quality series such as Mad Men and 30 Rock. Likewise, DVDs and DVRs, web video, HDTV, and mobile devices have shifted the longstanding conception of television as a household appliance toward a new understanding of TV as a sophisticated, high-tech gadget.
I am a journalist who has strayed into book writing with a particular interest in the history of post-independent and contemporary India. My interest in this subject developed as an offshoot of reporting on landmark changes during the period of economic liberalization in the 1990s. One of the astounding stories of this period was the rise of the technology industry and the outsourcing business. A deeper study of this took me back to the period of independence in 1947 and decades before it.
The discourse on modern India is often about achievements in science and technology, R&D in national laboratories, and industry. However, in a country of one billion plus people, innovation is happening not just in formal sectors. Ordinary people – farmers, teachers, students, artisans, school dropouts, homemakers – are constantly innovating to solve everyday problems using frugal means. The book is an account of spotting grassroots innovations, nurturing them, and building networks with formal systems and markets. It is critical to understand this process for a deeper appreciation of contemporary India.
A moral dilemma gripped Anil K. Gupta when he was invited by the Bangladeshi government to help restructure their agricultural on-farm research sector in 1985. He noticed how the marginalized farmers were being paid poorly for their otherwise unmatched knowledge. The gross injustice of this constant imbalance led Gupta to found what would turn into a resounding social and ethical movement-the Honey Bee Network-bringing together and elevating thousands of grassroots innovators. For over two decades, Gupta has travelled through rural lands, along with hundreds of volunteers of the Network, unearthing innovations by the ranks-from the famed Mitti Cool refrigerator to…
I’ve always been fascinated by advertising—its creativity, its persuasive force, its sometimes relentless nature. I’m a law professor and I’ve written numerous articles on the relationship between law, technology, and advertising. A lot of what I’m interested in is psychology. Only by understanding the capabilities of audiences for advertising can judges and legislatures determine what legal limits need to be placed on advertisers.
Much of the advertising we see is not something that we can recognize as advertising. Marketing campaigns are orchestrated behind the scenes, influencing us through subtle product placement in films and television, paid mouthpieces made to appear to us like everyday strangers, and social media influencers with less-than-transparent relationships to luxury brands. This kind of advertising is not only effective in the moment, but it also succeeds in normalizing a culture of continuous selling. Serazio, a former journalist, is a skilled investigator and writer and it shows on every page.
2015 Susanne K. Langer Award for Outstanding Scholarship, Media Ecology Association
2013 Book of the Year, Visual Communication Division, National Communication Association
Amidst the profound upheavals in technology, economics, and culture that mark the contemporary moment, marketing strategies have multiplied, as brand messages creep ever deeper into our private lives. In Your Ad Here, an engaging and timely new book, Michael Serazio investigates the rise of "guerrilla marketing" as a way of understanding increasingly covert and interactive flows of commercial persuasion. Digging through a decade of trade press coverage and interviewing dozens of agency CEOs, brand managers, and creative directors,…
I became interested in privacy in the mid-1990s. When I began my career as a law professor, I thought I might write one or two papers about privacy and then move on to other issues involving law and technology. But like Alice in Wonderland, I found an amazing world on the other side of the rabbit hole. I’ve written more than 10 books and 50 articles about privacy, and I have a list of topics and ideas that will keep me writing many more in the future. I recently wrote a children’s book about privacy called The Eyemonger, which is designed to spark a child’s thoughts and understanding about privacy.
Privacy’s Blueprintpresents a deep, vivid, and concrete account of how technology companies design devices, websites, and software in ways that diminish privacy. Design choices are frequently clandestine, built so that people don’t notice them or how they are being pushed and manipulated into sharing more data or making choices that surrender their privacy. With clear and engaging examples, Hartzog illuminates these shadowy designs and shows how they work. He contends that privacy law can’t be effective unless it regulates design. According to Hartzog, design can be regulated in ways that aren’t overly controlling or stifling to innovation. This is a great book, filled with countless insights, and it is highly accessible.
Every day, Internet users interact with technologies designed to undermine their privacy. Social media apps, surveillance technologies, and the Internet of Things are all built in ways that make it hard to guard personal information. And the law says this is okay because it is up to users to protect themselves-even when the odds are deliberately stacked against them.
In Privacy's Blueprint, Woodrow Hartzog pushes back against this state of affairs, arguing that the law should require software and hardware makers to respect privacy in the design of their products. Current legal doctrine treats technology as though it were value-neutral:…
Inequality and fairness are basic issues in human conflict and cooperation that have long fascinated me. Growing up in Louisville, Kentucky, I was confronted with the extreme racial segregation of schools and neighborhoods. My Catholic upbringing taught me to cherish the cardinal virtues of justice, wisdom, courage, and temperance, and my education in political economy taught me that markets can fairly and efficiently allocate resources, when legal power is evenly shared. My formal education culminated in a Ph.D. in Public Affairs from Princeton University, which led me to my current roles: Non-resident Senior Fellow at the Brookings Institution and Principal Economist at Gallup. I care deeply about the social conditions that create cooperation and conflict.
Can ideas change the world? How does belief in political equality—the idea that everyone deserves basic unbridgeable liberties—affect innovation and economic development?
Dierdre McCloskey—one of the most creative and interesting economists alive—takes on these topics and much more in her characteristically witty, fast-paced style. She loves describing and refuting bad ideas—or even ideas widely regarded as brilliant—in an effort to go deeper into the forces that lifted humans out of poverty and sustain innovation to this day.
There's little doubt that most humans today are better off than their forebears. Stunningly so, the economist and historian Deirdre McCloskey argues in the concluding volume of her trilogy celebrating the oft-derided virtues of the bourgeoisie. The poorest of humanity, McCloskey shows, will soon be joining the comparative riches of Japan and Sweden and Botswana. Why? Most economists from Adam Smith and Karl Marx to Thomas Piketty say the Great Enrichment since 1800 came from accumulated capital. McCloskey disagrees, fiercely. "Our riches," she argues, "were made not by piling brick on brick, bank balance on bank balance, but by piling…
I’m an award-winning science journalist at Falmouth University, UK, and have written for just about every major science magazine going. When I’m not teaching, I try and emulate Indiana Jones by going off on incredible adventures – so far, my hunt for stories in the name of science has taken me to 75 countries and every continent. Science writing doesn’t have to be dull: I adore the weird, quirky stories of science history, about humans being brilliant idiots and somehow making our world a better place.
Mary Roach is an absolute treasure as a science writer: not only hilarious, but often insightful. I’ll admit, when I wrote my first book, I always wondered "what would Mary Roach do?" when I came to a tricky bit. Grunt isn’t her best-known work, but it’s my favourite because it looks at something only she could do well: non-violent science in the military. The only gun, she writes, is the one that fires frozen chickens at windscreens to see if they can withstand the impact. This is a book about how to keep soldiers safe from the enemy, cool in the desert, and stop Navy SEALS from pooping their pants.
Grunt tackles the science behind some of a soldier's most challenging adversaries-panic, exhaustion, heat, noise-and introduces us to the scientists who seek to conquer them. Mary Roach dodges hostile fire with the U.S. Marine Corps Paintball Team as part of a study on hearing loss and survivability in combat. She visits the fashion design studio of U.S. Army Natick Labs and learns why a zipper is a problem for a sniper. She visits a repurposed movie studio where amputee actors help prepare Marine Corps medics for the shock and gore of combat wounds. At Camp Lemmonier, Djibouti, in east Africa,…
