'The Mandalorian' (2019–) was an immediate hit from the jump, giving Star Wars fans hope for what is to come with the Star Wars franchise. While the show hasn’t lived up to the initial hype it first garnished, there’s plenty to learn as writers from the top-rated show, especially its pilot.
Still from 'The Mandalorian'. Photo credit: IMDb
Having a Hook
Many writers need to remember the importance of hooks, especially when discussing television writing. A good "hook" should compel audiences to keep going, capturing their interest immediately so they don’t lose motivation after the first few minutes. It doesn’t need to be shocking or intense, but it should be engaging–whether through captivating character actions or the beauty of your writing style.
With The Mandalorian, a man with no moral compass beyond the strict codes of his Mandalorian creed—a man who never removes his helmet, who views the people he captures only as bounties to be traded for money. His sole sense of value revolves around the Mandalorian value system. Suddenly, this hardened bounty hunter develops a deep bond with a tiny, adorable creature meant to be his prisoner: Baby Yoda.
This ironic twist—an emotionless bounty hunter growing attached to a vulnerable Baby Yoda—is the core of The Mandalorian. Almost everything in the series revolves around this central concept.
From the moment the story begins, it becomes clear where things are headed. By the end of the pilot episode, we already recognize the journey ahead: the Mandalorian, who was once a foundling himself and understands the pain of being orphaned, will ultimately feel compelled to protect this little one.
The show takes us on the Mandalorian’s transformation journey–from a man bound by rigid codes to one who discovers his purpose and compassion. This unexpected emotional evolution, built around a simple yet powerful hook, drives the story's heart.
Creating a Story with a Huge Fanbase
I remember when The Mandalorian first came to life, and many said it was the best Star Wars story in a while. This was after the heels of the recent Star Wars Trilogy, which was completed in an underwhelming fashion, and many didn’t have high hopes for the franchise.
The Mandalorian satisfies fan expectations and keeps us engaged so that it can continue for three seasons with a film on the horizon. While Jon Favreau had the daunting task of creating a Star Wars story, much of the success came from Favreau not feeling overwhelmed.
It’s a reminder not to get overwhelmed by the overall scale or complexity of the project–focus on the individual stories you want to tell. If the idea of a vast sci-fi western feels intimidating, begin with something more manageable.
The great thing about having many stories in a universe to utilize is that Favreau can tailor his ideas to what makes sense. For example, The Mandalorian is pitched as a Star Wars Western, and that notion alone can go many ways. Favreau could explore different angles if they align with the larger narrative.
Setting the Story Up
While Pilots aren't what they used to be, they are essential, especially in larger shows like The Mandalorian. For you, it depends on the type of show you're working with. For an ongoing sitcom, a pilot should be an explicit, entertaining episode that introduces the characters and humor, making it obvious what the audience can expect in future episodes.
A great sitcom pilot ensures each character has a standout joke that reveals their personality and role in the show. On the other hand, if it’s a drama, the focus shifts to establishing the characters and building the world where the story unfolds.
As TV seasons become shorter and less focused on episodic storytelling, pilots often serve as the first chapter of a larger story. However, the main goal remains the same: the pilot must communicate what the show is about. Writing a compelling pilot involves introducing both the concept and the characters in a way that hooks the audience for what's to come.
Begin Writing
Distractions are everywhere today, and Favreau’s writing routine reflects an understanding of this challenge. Favreau has gone on record stating that he makes a point to write in the mornings before the demands of daily life take over.
It's a point that when writing, it's crucial to minimize distractions. Try turning off your phone, silencing notifications, and removing potential interruptions. One approach is to handle emails, texts, and calls before you start writing, but Favreau has stated that the real issue is the mental clutter those tasks create. If you address them first, your mind will avoid falling back to those responsibilities.
Whatever method you adopt, the goal is to create an environment where you can immerse yourself fully in your story. That can only happen when you focus entirely on the world you’re building, free from external distractions.