Chapter 10 of 30 from Shonda Rhimes

Writing a Script: Process


You have your premise, your characters, and your research. Now it's time to write your script. Shonda talks about her own process for preparing to write a script, including how to create beat sheets and outlines.

Topics include: Writing a Beat Sheet • Developing an Outline • Themes

You have your premise, your characters, and your research. Now it's time to write your script. Shonda talks about her own process for preparing to write a script, including how to create beat sheets and outlines.

Topics include: Writing a Beat Sheet • Developing an Outline • Themes

Shonda Rhimes

Shonda Rhimes Teaches Writing for Television

In 6+ hours of video lessons, Shonda teaches you her playbook for writing and creating hit television.

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Make Great Television

When Shonda Rhimes pitched Grey’s Anatomy she got so nervous she had to start over. Twice. Since then, she has created and produced TV’s biggest hits. In her class, Shonda teaches you how to create compelling characters, write a pilot, pitch your idea, and stand out in the writers’ room. You’ll also get original pilot scripts, pitch notes, and series bibles from her shows. Welcome to Shondaland.

Watch, listen, and learn as Shonda teaches you how to write, pitch, and create a hit TV show.

A downloadable workbook accompanies the class with lesson recaps and supplemental materials.

Upload videos to get feedback from the class. Shonda will also respond to select student questions.


Students give MasterClass an average rating of 4.7 out of 5 stars.

brushing up on old skills, shaking the dust off, helping me get back in the game, reigniting my passion for writing, and getting my shit together.

Shonda was the first class I took and still the best. Amazing and an inspiration. Shonda, I can't wait for you to see my t.v. Pilot. Timothy Brunet The Visualante

I think I have a better understanding of how the world of television works and what is necessary to develop a show. Shonda's insights are invaluable and I am sure I will be referring to them again and again in the future.

Shonda was so very generous with sharing her experiences and knowledge of the industry! Thank you Shonda!!!


Toni H.

Individual process for my writing came out of a vital need to be aware of what worked and didn't work since I was always writing in-between work as a book editor and a publisher. Vacations were my marathon writing times. I don't believe in writer's block, simply becasue I couldn't afford to believe in it. I didn't have the luxury of time. But, I had to create a tool for authors who did. That 23-Day Writer's Tool was the muscle and the discipline that worked for authors of any genre. It simply came out of my own process. I loved this lesson's 'gathering in your head' until the story wants to spill out of you. Then you write. Also, I use Movie Magic Screenwriter and love it.

Raoul H.

In Germany you have to write an outline. Otherwise you never get the contract to write the screenplay.


I've never written an outline, but I agree with her previous lesson, where she says, you think it over until it drives you crazy and write it down. That is what happens to me, and BOOM!! I have an entire story. Situations I think of usually lead to a title, then a story.

Meghan F.

This video was helpful describing a suggested flow, and how to outline for writing. Each person might follow this steps a little bit differently, but the process is still being created for each individual.

Monya W.

I have never used outlines but I am finding them to be more useful than not having them.

Irina S.

If you have a substantial size teaser in your pilot, should it count as one act? In other words, would I need only four acts +teaser or still 5 acts in addition to the teaser?

Arthur L.

Well to be honest, for me the themes in Grey Anatomy Season 1 were a bit overdone. It just didnt feel real, because somehow the whole world stuck to just one topic and everything that happened had something to do with it. And that almost never happens in real world.

Denise W.

I use to do outlines but I am more of free styling but I love the beat sheet method. I will try to do that the next go round.

Jordan S.

I love beat sheets! I pretty much never start anything till I have a beat sheet of some sort. The beat sheet sort of melds into an outline if I try to flesh it out to give myself confidence to start on the script. But generally I don't get to the beat sheet till an overall story arch has formed in my mind. Then it's a matter of putting it down on paper and checking the logic of the idea I've had


I have written with an outline and it does simplify things quite a bit but, I've also written without one. Shonda is so on point in that with one you know where you're going from one point to the next. Without one, you have to think and work harder. Without one, it does test your creativity a bit more. She is awesome.


I definitely have an incubation period with everything. Not just every show idea. Every script I'm supposed to write. Every scene I'm supposed to write. I sort of knock it around in my head until I know. There aren't checklists that I go through in my head to say, am I ready to write this story? There aren't rules that I follow that-- you know, very specific rules. Writing doesn't work that way. I think that there are checklists, and there are rules of things to do to keep yourself disciplined. But those didn't have anything to do with actually writing. So for me, I like to let an idea simmer in my head until either I can't take it anymore or I've been given a deadline for something. Deadlines are wonderful for making you get your act together. And then I just start writing. And that is the way of the world. And either you'll hit a point where you can't write about it anymore, meaning it didn't work. Or you find yourself in a great space where you're just flying with it because it's working perfectly. What's funny is, I wrote the pilot script for Scandal in four days and a year, because Judy Smith and I met the year before. And then I basically thought about it for a year. And then I went away and wrote it in four days. Mainly because I didn't have any time, but also because I kept trying to figure out how I was going to approach this story. And I wasn't totally sure the best way in or who-- how or when to come into the story at all. Judy had told me all of these different aspects of her job, and they were all fascinating. And I couldn't decide how much to incorporate, how little to incorporate, what parts to be inspired by. And so I just thought about it for a year. And then, sort of a year later, I was done thinking truly. And I thought, well, I better go write this now. And I went away for four days and wrote it. [MUSIC PLAYING] To me the process of writing a drama goes like this. You have an idea. You turn that into a premise. You do a bunch of research. You've really thought about your characters. You feel sort of ready to start writing. That's the point at which, I think, you write a beat sheet. And a beat sheet is where you decide what all the beats of your story are going to be. You know, Meredith is going to be-- she's going to sleep with Derek and kick him out of her house. She's going to go to work, and she's going to discover that surgery is hard. You know, all the-- they meet Dr. Bailey, and she gives him the rules of the world. Those are your beats. You put all those down on paper as best as you know them, in one or two sentences. Maybe even one or two words. For me, sometimes I just write one word down on a page. A beat sheet really is a precursor to an outline. You write your beat sheet. That beat sheet becomes an outline. The outline becomes your pilot....