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How to Write Your Own TV Show: an Interview with Ariana Quiñónez
by Writing Workshops Staff
5 days ago
What does it take to craft a television pilot that captures the attention of industry heavyweights, lands you coveted fellowships, and opens doors to the writer’s room? Ariana Quiñónez knows the answer. As a Writers Guild of America (WGA) television writer, Ariana’s credits include hit shows like Roswell, New Mexico (The CW) and Home Economics(ABC). Her journey through the Disney Entertainment Television Writing Program and her work developing a pilot with Idina Menzel’s production company are proof of her talent and insight into the competitive world of television writing.
Now, she’s ready to share her expertise in a transformative workshop designed for aspiring and professional writers alike. In this interview, Ariana gives us a taste of what her class at WritingWorkshops.com has to offer, peeling back the curtain on the craft of TV writing and what it takes to stand out in the industry.
Students in Ariana’s workshop will not only complete their own pilot drafts but will also gain insider knowledge on character development, structure, and scene work. From exploring the nuances of storytelling to hearing firsthand from WGA writers about their career paths, this class provides everything you need to launch your television writing dreams.
Whether you’re a beginner looking to break into the industry or a seasoned writer honing your craft, Ariana’s class is your chance to learn from someone who has been in the trenches, creating stories that resonate with audiences and executives alike.
In this conversation, Ariana dives into the heart of her creative process, what inspires her as a storyteller, and how her students can navigate the exciting and unpredictable world of television writing. Prepare to be inspired, motivated, and equipped with the tools you need to turn your ideas into a compelling television pilot. Let’s get started!
Writing Workshops: You’ve worked on both drama (Roswell, New Mexico) and comedy (Home Economics). How has straddling those two genres influenced the way you approach teaching others to craft a TV pilot—especially when it comes to pinpointing the heart of a show’s theme?
Ariana Quiñónez: Concept is why people initially tune into a show, but theme is the invisible thread that makes an audience care enough to stay. At the end of the day storytelling is about connecting with each other through our shared humanity, so while dramas and comedies do each have their specific beats they need to hit (and we’ll definitely be talking about those in this workshop!), understanding your show’s thematic voice, regardless of genre, will ensure that your audience cares about your characters and the journey they’re going on — whether it’s to a family birthday party or a mission to outer space.
WW: You’re known for helping writers break into top fellowship programs. From your perspective, what’s one hidden pitfall aspiring television writers often overlook when they first try to turn their “big idea” into a polished pilot?
AQ: The “pitfall” I most often see from writers trying to break in through a fellowship program is the misconception that good writing alone is enough to make you stand out in a sea of thousands of submissions. For many writers, their first pilot is often their most personal, but while shows like Parenthood or Modern Family are brilliant to watch on television, they were also pitched by experienced showrunners who already had a proven track record. When you’re first trying to break in, it’s important that you have a writing sample that stands out. This doesn’t mean you can’t tell your personal story (you definitely can!), it just means that you need to find a hook to help elevate that story so that the concept grabs a reader wading through a sea of good writing samples.
WW: You put a strong emphasis on studying produced pilots. Can you share a moment from your own career when dissecting someone else’s script led to an unexpected epiphany about your own writing?
AQ: There’s so many to choose from! Every time I begin writing a new pilot I sit down and dissect multiple pilots in that same genre to help me internalize what story/character beats are and are not working. I have a special fondness for the Friends pilot, though — the first time I sat down and dissected it from a craft point of view, I was in such awe of the incredible character work they were able to pack into 22 minutes. There are six main characters, and yet every single one of them is fully realized and you understand their point of view from their very first line in the series.
WW: Your workshop covers everything from outlining to building a writing community. Of all these stages, which do you find most revealing about a writer’s true voice—and why?
AQ: Our voice is something we discover and rediscover over and over again through each stage of the writing process, but I think that the most revealing element in our writing is examining our relationship to theme. Theme is ultimately the part of ourselves and our point of view that we’re sharing with others — it’s what gives good plot and interesting characters life.
WW: Developing a pilot with Idina Menzel’s production company must have been an adventure. What surprised you the most about collaborating with a high-profile partner, and what can new writers learn from that kind of creative synergy?
AQ: Idina and her creative partners are such champions of underrepresented voices, it was such a joy and privilege to get to work with them. In this industry, every successful project involves collaboration, so it’s very important for new writers to understand the balance of staying true to your original vision while also taking in feedback from creative partners. Sometimes big creative changes need to be made, but often leaning in to a change rather than resisting it can foster even more creative opportunities for you to explore.
WW: Your class includes a special session on ‘Television Writing as a Career.’ In an industry that’s ever-shifting—especially with streaming platforms—what’s the most crucial piece of advice you’d give someone who hopes to survive and thrive in the long run?
AQ: Building an authentic community is the most important thing any creative can do in this industry — there will be difficult times and there will be exciting times but having a group of peers who understand your struggles and celebrate your wins will be the lifeline that keeps you going. Now more than ever, this industry is all about your personal connections — those take time to build, but ones that are founded in authenticity will be the bedrock of your career.
WW: When teaching character work, many writers focus on backstory first. Is there a less obvious ingredient in character-building that you believe can elevate a pilot from good to unforgettable?
AQ: When I was in the Disney Writing Program we did extensive character work before writing our pilots. We’ll be using some of the Disney Writing Program character mapping techniques in our class, as well as techniques from the Greg Berlanti camp that we utilized on Roswell, New Mexico. One thing that’s important to remember when building out a cast for a series is that characters can’t just be interesting on their own, they need to create fascinating push-and-pull dynamics with each other that can drive story for multiple seasons, whether you’re writing a supernatural soap opera or a cozy family comedy.
WW: Finally, your workshop culminates in a completed first draft. What’s the biggest emotional or psychological hurdle you see students face at this finish line—and how do you guide them to leap over it and keep refining their work?
AQ: Perfection can be a real creative hindrance, specifically because the beauty of art is that, like humanity itself, it can never be perfect. Showing your work to others can feel incredibly daunting, but my goal in this workshop is to build a space that fosters creativity and acceptance so that we can all learn from each other.
Avoid the waitlist and sign up for Ariana Quiñónez's upcoming class: Write Your Own TV Show: An Introduction to the Art and Business of Television Writing.
Ariana Quiñónez is a WGA television writer who has written on the CW’s ROSWELL, NEW MEXICO and ABC’s HOME ECONOMICS. A 2022 fellow in the Disney Entertainment Television Writing Program, in 2023 she developed her pilot at 20th Television with Idina Menzel’s production company Loudmouth Media. As a freelance writing instructor, she has helped professional writers get accepted into multiple fellowship programs, including the Paramount Writers Mentorship Program and Rideback Rise, among others.
