Chapter 9 of 30 from Shonda Rhimes

Writing a Script: Structure


Shonda breaks down the five acts of television and what needs to be accomplished in each one to tell an effective story in a one-hour drama.

Topics include: The Five Acts of Television • Ending Acts • A, B, C Stories

Shonda breaks down the five acts of television and what needs to be accomplished in each one to tell an effective story in a one-hour drama.

Topics include: The Five Acts of Television • Ending Acts • A, B, C Stories

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.

I'm going back and starting it over because it is obe of the most useful master classes I've watched. Now, I want to participate in the community.

It has been a nice experience. Shonda teaches in a clear manner and in a simple way. Writing is not an easy work and not at all is a task to take without a serious study. But I try to keep in mind the lessons of the teacher.

It gave me great tips on the five act structure and how to ramp things up. It also helped to demystify the difference between the pilot and the second episode.

Wonderful insights into the methods and discipline it takes to run a television show!


Toni H.

Loved the lesson on writing a script. Shonda's ease with the organic and structural aspects of writing a script speak my language and approach to writing. Shonda's inclusion of having a plan A, B, and C and intersecting two or all three raised the bar in how I could approach a tired scene in a new way. I've watched Grey's Anatomy from Day One, which contunues to entertain and teach volumes about writing for television. I feel fortifide with the tools to accomplish my goals in transitioning from novels to scripts.

Meghan F.

This lesson had interesting points about having a plan A, B, and C. Like Shonda said, the different plans can cross paths/ intersect at a certain point as well, which would help the writer. Also her point on character depth, and the ups/ and downs of a character for a writing standpoint was really interesting. Who are some of your favorite television characters' , whom you thought were well developed?

Meichelle V.

Don't know which one I like more the Structure(9) or Pitch (8), thanks a million for sharing:)

Chris D.

Make sure to download the PDF - great resources in there as well. Very very good.

Monya W.

Helpful information on script writing, this is one of the areas I have found to be very difficult. Thank you.


Love the lecture, helps to have an outline and doing the research and structuring so when you start writing it becomes effortless.

Oliver R.

'Know the rules so you know when to break them'. Then she ends the lesson without saying a single rule. I'm sorry to say that this is typical of Masterclass—everything is very very vague!

Vickie R.

Sonda do you notice how all the great medical TV shows are pretty much based in Chicago? My relatives and friends went to some Chicago medical schools. PS Going to start watching Scandal more. Did you know I worked in SCANDALS? In my 20s I was a Hollywood tabloid reporter. Pretty funny stories. But I'm used to memoir writing, not script writing. Wish you could turn my short medical essays into a show????? Please keep me in mind I have great ideas for sure!!!

Candice F.

As I was watching this, I was thinking back to the recent shows I've critiqued and have been watching: This Is Us, Grey's Anatomy, and The Originals (mostly because I watched this one last night). Masterful insights!

Betty M.

Helpful infornation on script development. I appreciate the points on A,B, C storylines.


A one-hour drama is generally five acts of a show. It's a one-hour drama separated into five parts, probably about 55 pages, although they can be longer. I think my pilot for Grey's Anatomy might have originally been 72 pages long. They tend to be long. But between 55 and 60 pages long, divided pretty much evenly into five acts. There's sometimes a teaser, for some people, at the front. For Scandal, if you look at Scandal that's what you see when you see, like, there's a little bit of Scandal, and then you see the little photo snaps and then the word "Scandal" appears on the screen. What happens before that is called the teaser. And that's pretty much how it's structured. It's very clean. At the end of every act you want to have something happen that turns the story, meaning that the story should then head in a new direction each time you hit the end of an act. In Act One of your story, you really need to introduce your characters in an exciting way and set up your world in an exciting way. It should be visual. It should be intriguing, and it should draw the audience in. You introduce your characters, you set up your world, and you present your problem, whatever your problem is going to be. It doesn't have to be, necessarily, something big and dramatic. Sometimes it can be something very quiet. It just depends on what kind of show you're doing. Think about things like the show Parenthood versus Grey's versus, I don't know, Breaking Bad. They all have very different ways of presenting their problem. But present your problem. And then in Act Two, you really want to sort of step things up. You want things to get worse, you want the situations-- and by get worse, I mean escalate. Your situations escalate. Things heat up for your characters, either in a good way or a bad way. You start to expand your world a little bit. You meet more people. You understand the world better. In Act Three, which is the center of your show-- it sort of spans the right-in-the-middle of your show, the middle 11 pages, I like to say-- you want things to sort of start to peak. Things get really hot. Things either take a turn for the worse or a turn for the most exciting, as sometimes we like to say. And you sort of get either really worried or really frightened or really engaged. Or it's sort of that moment when you're thinking, like, hold on to your seats. At the end of that the story usually turns in a different direction, I always like to say, like a surprising turn that you weren't expecting to go in. In a procedural sometimes that's when a new piece of evidence pops up; that's what I like to joke. In Act Four, that's when the ticking clock happens, when you know that you have this amount of time to do something. For many shows when there's no ticking clock it's really when the characters start to really reveal themselves as who ...