You with your feet up, remote in one hand and beverage in the other, being all judge-y about this fall’s new network dramas and sitcoms. Just take a moment, will you, and think of us writers gutting ourselves trying to create them. Think of us lumbering from lot to Hollywood lot, fingernails in our teeth and oil in our bowels, pitching what we hope you’ll be criticizing next fall.

The Big Four — ABC, CBS, Fox and NBC — have recently wrapped two months of listening to about 350 series pitches each. (I know what you’re thinking: Someone out there has to sit through five or six television pitch meetings a day, and there is no Nobel Prize in that category.) Each broadcast network will buy up to 60 pitches. Hallelujah for those lucky pitchers, who will then write their scripts for the pilots. At year’s end, each network will pick a dozen or so to produce. Those pilots will shoot in the spring. Next May in New York, in the ad-buying extravaganza called the upfronts, the networks will announce the precious few that will become full series.

I am a journalist and author who stumbled into writing pilots. I had an idea for a drama, called “The Ordained,” about a former priest trying to stop an assassination. I pitched it to networks. None bought it, so I wrote a script on spec.

In 2012, the script sold to CBS, which produced it. This is unusual. As Deadline Hollywood noted, by way of saying pigs are flying, I had no TV credits and live in New Jersey.