I talk a little bit more about this in the Writers' Room (https://www.stage32.com/writers-room) but a few days ago, I had an illuminating conversation with the president of one of Europe's largest studios, and I came away thinking about what the global content revolution means specifically for TV writers.
While American TV writers often hear doom-and-gloom forecasts about shrinking opportunities, the international landscape tells a completely different story. Television production is booming globally, with streaming platforms investing heavily in local content that can travel worldwide.
For TV writers, the co-production model offers unique advantages. Unlike the traditional American system where writers rooms are largely confined to Los Angeles, international co-productions often assemble writers from multiple countries. This means your scripts could be developed in Ireland, produced in Canada, and post-produced in England: with each phase qualifying for local incentives that make ambitious projects financially viable.
What exactly does this mean for your writing career? First, TV concepts with universal themes and character dynamics are increasingly valuable. While American writers typically focus on American settings and cultural references, concepts that can be easily adapted to multiple cultures have become premium IP. Think about shows like "The Office," "House of Cards," or "In Treatment"—formats that successfully crossed borders because their premises worked universally.
Writers who traditionally might have struggled to break into the American system now have alternative pathways. European, Canadian, and Australian producers are actively seeking English-language scripts they can develop for their markets, often with budgets comparable to mid-tier American productions. If your pilot hasn't gained traction in the US market, it might find a home abroad.
Your writing approach may need adjustment for this global market. Dialogue-heavy scripts with culturally specific humor often struggle internationally, while visual storytelling and universal emotional conflicts translate effortlessly. Character-driven dramas exploring timeless themes like family dynamics, power struggles, or moral dilemmas travel particularly well across cultures.
For episodic structure, it's worth noting that many international markets prefer shorter seasons (6-8 episodes) compared to traditional American runs. This often allows for tighter storytelling and higher per-episode budgets. Writers accustomed to plotting 22-episode seasons might find creative freedom in these condensed formats.
One fascinating trend is the emergence of "locally global" content, shows deeply rooted in specific cultures but crafted with global appeal. Think of series like "Money Heist" (Spain), "Dark" (Germany), or "Kingdom" (South Korea). These shows weren't watered down for international audiences; rather, their cultural specificity became part of their global appeal.
So how can you position your TV writing for this market? Consider:
Creating concepts with flexibility to work across cultural contexts
Developing characters with universal emotional drives
Focusing on visual storytelling alongside dialogue
Researching the specific content trends in target markets
Structuring stories for 6-8 episode seasons
Including elements that could appeal to international tax incentives (settings that could work in multiple countries)
Writers who've traditionally focused solely on American network or streaming services might find unexpected homes for their projects in this global ecosystem. Your character-driven medical drama might work perfectly in the UK. Your sci-fi concept might find financing through German and Canadian co-producers. Your family drama could resonate with Australian audiences.
The walls between markets are falling, and the most successful TV writers of tomorrow may be those thinking beyond their home borders today. Does your portfolio include projects that could flourish in this global TV ecosystem?
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A lot of my feature scripts and short scripts have global appeal, Geoffroy Faugerolas. I'm outlining a TV series that takes place in the U.S. I haven't thought about global appeal for it, but I could easily add things to the show to make it appealing to international audiences. Or I could set the story in another country. Thanks for the info.
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You are right Geoffroy Faugerolas
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Please compile a list with production companies which work across borders. So we can contact them.
I first wrote my latest script in Swedish. Swedish producerss refused to read. So I translared into American English. American producers refused to read.
So I am preparing to once again create a no-budget film, but I will gladly sell it to anyone.
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Such an interesting insight, Geoffroy Faugerolas. It's a very good approach to write with a global audience in mind. For example, limiting humour with references that only people who come from a specific culture and place understand helps a lot.
Geoffroy Faugerolas
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Thank you so much Geoffroy Faugerolas
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Probably everything I write could work as a globally-friendly TV series since I don't like to restrict myself to being local--that is, in Vancouver, BC, let alone America lol. My settings are deliberately open-ended since I feel they could happen anywhere in the world (though probably without fail they default to a northern hemisphere feel lol), my characters are international and varied and could be anyone, anywhere, unique and yet relatable, just like everyone on Earth. The dramas I write are universal, too.