This Twitter thread from TV writer @MatthewFederman has a lot of very helpful things to remember
(his reference to "room" is the writers room, where the writers of a TV show work)
I think #23 is crucial to remember for the pages you include in a query.
1) Work big to small storywise: You're building a house. Don't start working on the fixtures until you're sure that's where the bathroom goes.
2) You'll know ideas work because they inherently spin out smaller, interesting character moments.
3) Good story creates more story. When you're going in the right direction track starts to lay out in front of you.
4) When you're going in the wrong direction it feels like a slog. If you spend a suitable amount of time grinding gears, reassess.
5) Problems for the character are good, problems in the story are bad. Don't confuse them.
6) If you find yourself bending over backwards to steady a weak piece of story, replace it.
7) Logic problems are often opportunities to examine character motivations, or lack thereof.
8) When you are holding on to something that you need to pretzel the story around to make work, let it go. This might not be the right episode for that idea.
9) When stuck, ask what the character would do next based on what they know and what we know about them.
10) Have fun! (I'm kidding...slightly...but use passion and enjoyment as indicators of whether or not the story is working. If you're bored, the audience likely will be as well).
11) Action scenes are not distinct from "character scenes" but a chance to test your characters' mettle, chart their growth or challenge their moral compass. Whether they succeed or fail we'll learn more about them.
12) Use every part of the buffalo when developing set pieces. Rather than just a chase or generic gun fight, pick specific concepts and locations with action and character choices that could only be made there.
13) Understand the expectations of your audience based on the genre you're working in. Surprises, twists, etc. work best when the audience *thinks* they understand the story.
14) Once the patterns of the show become evident, subtle permutations keep it fresh. Switching up normal character pairings can reveal interesting new dynamics. Larger form-breaking episodes often announce important shifts in story.
15) It is great to have a show bible as a road map but don't let it keep you from finding more interesting destinations along the way.
16) If character backstories aren't giving you story going forward they aren't engineered correctly.
17) Character conflict is strongest when it comes from differing points of view than when one character is obviously right.
18) When characters are complex plots can be simple.
19) Assuming organizations/groups think monolithically takes away options for plot and conflict.
20) Encourage the writers to NOT come in when under the weather. One bug can take down the whole staff. Don't be a hero.
21) Every room has a version of the phrase “a hat on a hat” or “bananas on bananas.” It’s a comedy phrase but applies to drama as well. Beware of diluting what already works by adding more to it.
22) While it is great and necessary to have flawed characters in drama, not all flaws are created equally. A Hero can be unfaithful, they can be wrathful, they can be stubborn. One thing they can rarely be: incompetent in their chosen field.
23) As with a first impression in life, character introductions have outsized importance. Often when an arc doesn't work it's because the character isn't introduced properly. The best introductions are a microcosm of everything you need to know about the character.
24) Think about character "chemistry" not just as sexual but as how any two characters, like chemicals, change or affect each other when in contact. Combine characters in scenes whose personalities create the most organic and explosive interactions.