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THE SPECTACULAR SPEC

WRITING FOR EXISTING SHOWS IS YOUR FIRST STEP

It’s important to understand that no one is going to hire you as a TV writer simply because you want to be one. As with any business, in order to get work, you have to prove that you can actually handle the job. Hollywood is heavily unionized, which makes production outrageously expensive. To cut down on costs, production schedules are usually tight, allowing little, if any, room for error. If a script isn’t ready for shooting when it is supposed to be, the cost to delay production can be astronomical. Therefore, most producers will not give out writing assignments to unproven writers without being fairly certain that the writer will not only turn in a decent script, but will turn it in on time. So if you are a new writer without a track record, how do you prove to producers that you can in fact step up to the plate and do a professional job? The answer is you write what is known as a “spec” script. In scripted television, writing a spec is the first step to getting work as a writer.

WHAT IS A SPEC SCRIPT?

Simply put, a spec script is a writing sample. You don’t get paid to write it; however, if done well, your spec could open doors and generate work for you down the road. Think of a spec script as your calling card. The same way actors and models send out headshots in hopes of gaining future employment, you will use your spec scripts to find work as a TV writer.

Your first order of business is to come up with a story idea for an existing show. The reason you should write a spec for an existing show rather than write a pilot is twofold. First, it will be easier than writing a pilot, as the premise, characters, character voices, and character relationships are already established. Second, you need to prove to producers that you have the ability to write for existing characters, because that is what you will ultimately be doing. Ideally, the story you come up with should use all of that show’s main characters, and should utilize as many of the show’s regular sets as possible. Once you have the story, you will write a sample teleplay from beginning to end. The goal is to have an end product that mirrors the actual scripts that are produced on that particular show.

CHOOSING A SPEC SCRIPT THAT WILL WORK FOR YOU

Before you jump into the saddle and choose which show to spec, it is advisable to take a big-picture look at your long-term career goals. Where and how do you see yourself fitting in within the TV industry? To help establish where your sensibilities lie, you might want to think about who you are as a person. Are you someone who is exceptional at making people laugh — or do you possess more of a flair for drama? You may also want to look at the kind of TV shows you are most attracted to. If you tend to watch more drama than comedy, you will probably be more comfortable scripting a one-hour drama than a joke-heavy sitcom. But what kind of drama do you find most appealing? Smart procedurals like Criminal Minds or softer, more character driven vehicles like Downton Abbey? By writing the kind of show that you really have an affinity for, you will probably struggle less, and in the end produce a stronger writing sample.

In series television, there are comedy writers and there are drama writers. Most writers don’t bounce back and forth between the two. Therefore, you must declare yourself as one or the other. This is how your agent will generally sell you. It is also how you will be seen in the industry once you are up and running.

After you have decided between comedy and drama, it’s time to choose which show you want to spec. There are certain criteria that should be considered in order to choose a show that will work best for you. To begin with, the show must be currently on the air in prime time. Don’t mix this up with shows that have been canceled and are rerunning in syndication. I can’t tell you how many times people have said to me, “The only show I watch is Seinfeld. So that’s what I want to write.” Here is my stock response. First of all, if you want to work as a TV writer, you have to be constantly watching television — and yes, that means more than one show. Second, writing a spec for a canceled show is a colossal waste of time. Once a show goes off the air, it quickly becomes yesterday’s news. Producers generally won’t read these scripts and agents won’t sign you on them. You must write a spec for an existing program to show that you are current with what is on the air today.

Of course, there are exceptions to every rule. If you have an amazingly unique idea for a show that has gone off the air, you might consider writing that, as it could get you attention. Let me give you an example. Not long ago, Max Mutchnick, who co-created the ground-breaking hit series, Will & Grace, gave a talk at his alma mater, Emerson College. The subject of spec scripts came up, and Max said he would love to see someone write a spec of I Love Lucy …only set in present day rather than in the 1950s. That’s — not surprisingly — a brilliant idea. Think of all the trouble Lucy and Ethel could get into if they had things like smart phones, and computers. They’d be able to text, tweet, follow celebs, make YouTube videos, shop online… the list goes on. So, imagine you’re an agent or a producer and that kind of a spec script came across your desk. It would definitely stand out — and if written well, you’d probably want to meet that writer. Why? Because the writer thought outside of the box and wrote something fun and original. Keep in mind though, that I am not advocating that you write a show that’s off the air. What I am saying is that if you have a real creative twist on a canceled show, then definitely go ahead. And, by the way…don’t go write an updated version of I Love Lucy. That idea belongs to Max. You need to come up with a unique idea that’s all your own. And while we are on that subject, know that whatever show you ultimately choose to write, you’re going to need to come up with a big idea that will carry your spec and make it stand out. (We’ll delve into that part later.)

After you make up your mind about what show you want to spec, you need to research it carefully before you start writing. Look closely at how well it is doing in the ratings. While you won’t always know for sure if a show is going to be picked up for another season, you can usually make an educated guess. If its ratings are at all iffy, I would steer clear of it. As you are about to find out, writing a solid spec script takes an enormous amount of time and energy. The last thing you want to have happen is to work as hard as you are going to have to work, only to find out that once you have finished, the show has been canceled and you have to start all over again at square one. If you can find a show that looks like it will be around for a few years, all the better. As long as a show is on the air, you will have a current spec script that can continue to be sent out. Though it happens infrequently, there are shows — usually those that are doing extremely well in the ratings — that networks make commitments to a year or more in advance. These shows tend to be a good bet to spec because it is likely that by choosing one, you will have a writing sample that is current for at least a few seasons.

If you’re considering writing a spec for a brand new show, you should know that this can also be risky. In the first season, shows often struggle to find their voice and identity. Things change as the writers and producers get a feel for who the characters are and where they are going. Also, if the show isn’t an instant mega-hit, there may be some producers on other shows who won’t be as familiar with it, which can be problematic when it comes to getting your script read. Beware of shows that are too obscure for the same reason. Producers have to have a general idea of what the show is and who the characters are in order to evaluate your writing and your script.

Each season a few breakout shows quickly become hits. I commonly refer to these as “the flavor of the month.” They are the shows that every writer wants to spec. While there is technically nothing wrong with writing one of these shows, I think it can put you at a slight disadvantage. Let’s say you decide to spec a Modern Family, which happens to be one of the specs that everyone is writing. When you send it out to an agent, that agent will likely take it home to read over the weekend with ten other scripts. If six of the ten are Modern Family specs, how well do you think the agent will remember your script by Monday morning? The answer is probably not that well. If, however, there were six Modern Family specs, but you wrote a dynamite episode of Bob’s Burgers your script would have a much better chance of standing out among the pack.

The same thing is true when your agent sends your spec to producers to read. Producers grow tired of reading specs for the same show over and over again. Often the scripts that aren’t “the flavor of the month” end up getting writers noticed.

Be aware that, whatever kind of spec script you choose, it’s no guarantee of the kind of show you will eventually end up writing for. The spec that got me the most attention was a Married with Children. It was deliciously raunchy and extremely fun to write. Ironically, in the sitcom arena it only got me work on squeaky-clean family shows. Go figure.

STUDYING THE SHOW BEFORE YOU WRITE

Before you hunker down to write — or even come up with a story for your spec — it is imperative that you sit down and watch the show over and over again. It is virtually impossible to write a stand-out spec script for a show you have seen only once or twice. If possible, you should DVR the show each week. Then play it back repeatedly. Listen to how the characters talk. What is the rhythm of their dialogue? Who are they as people? What do they value? Also, check out the sets. Which ones are used every week? Which ones are used most often? You’d be surprised at how much you miss when you see a show only once. These seemingly minor details will all become major points when you write your spec.

GETTING YOUR HANDS ON A SAMPLE SCRIPT

In addition to recording your show, it is also a smart idea to get your hands on an actual hard copy of a produced script for the show you intend to write. There are many reasons to do this, the most important being that you are trying to write a script that looks similar to the produced scripts of the actual show. Therefore, you need to get everything right. Having a produced script to refer to will be incredibly helpful. Little things that you may not think about will become key as you write. To give you an example, let’s look at the show Modern Family. Can you tell me, off the top of your head, at the Dunphy house, do the producers refer to the set as the “living room” or the “family room”? How do they write the so-called “interviews”? How does Mrs. Dunphy spell her first name — is it “Claire” or “Clare”? My guess is that you probably don’t have a clue. That’s okay. However, when it comes to actually writing your spec, you must get it 100% correct. I can all but promise you that as you write, you will come to places that you just aren’t sure of. Having a produced script at your fingertips will help ensure that all potential loose ends are accounted for.

Another reason that it is good to have an actual script is for formatting issues. As you will see once we get going, while there are general rules for formatting a script, each show puts its own, ever-so-slight spin on those rules. By having an actual script, you’ll be able to see exactly how the writers of the show handle various issues.

If you live in Los Angeles, you can pop by the Writers Guild of America Margaret Herrick Library located at 333 S. La Cienega Blvd. They have plenty of scripts and a good variety. You can’t take the scripts out, but you can read them. Or, if you have any industry connections, you may ask them to help you get a hold of a certain script. If you can’t find the exact show that you are looking for, then try to get one similar to it. While a similar show won’t give you all the specifics I mentioned, at least it will be a good guide for script formatting. So, let’s say you are scripting a one-hour drama that is plot-driven. Then, an episode of something like The Blacklist or CSI would be a better example than an episode of The Simpsons.

There are places that sell produced scripts. But keep in mind they may be doing so illegally and violating copyright laws. As someone entering the writing profession you don’t want to violate copyright laws ever. It’s just wrong. Also, steer clear of downloading scripts from random sites on the Internet. In addition to possibly violating copyright laws, you have no way of knowing who typed the material or how meticulous that person was. In my TV Writing classes, I repeatedly warn my students about the dangers of downloading scripts. I explain ad nauseam that people who read scripts for a living have extremely trained eyes. Mistakes are spotted in a heartbeat. Without fail, each semester, one or two students don’t heed the advice. At the end of the semester, they turn in their spec scripts and I immediately see places where their format is miles off. When I push them, they sheepishly admit downloading scripts from cyberspace. Don’t fall into that trap. Believe me when I say that improperly formatted scripts equal not getting hired.

THE REASON YOUR SPEC PROBABLY WON’T SELL

Once a spec script is finally finished, new writers will often be so thrilled with the accomplishment that they will want to shove the script in an envelope and send it off to said show to be produced. I’m not trying to rain on anyone’s parade, but the cold hard truth is that spec scripts almost never get produced. There are legitimate reasons why. The first one is all about legalities. Studios, networks, production companies do not accept unsolicited scripts for fear of being sued. Imagine how easily and often this could happen if the doors were open for anyone to submit a script. Say an unknown writer wrote a spec of The Simpsons where the main storyline is that Homer takes Bart to the dentist. And say, for the sake of argument, that the writer was able to mail his script to The Simpsons writing staff and get it read. Now, suppose that script was poorly written, out of format, and not very funny, so the producers pass on it. Then, a few years later, the writers do an episode — and there is one small scene where Marge tells Homer she’ll meet him for dinner after she takes Maggie to the dentist. Suddenly, out of nowhere comes the unknown writer, claiming that the whole dentist idea was his, and oh, by the way, Fox is going to be sued. These kinds of costly and ridiculous lawsuits would happen on every show every day. Studios would spend hundreds of millions of dollars defending themselves against these unfounded claims. So therefore the rule is that shows just don’t accept unsolicited scripts. If you send your script, without it coming through an agent, manager, or entertainment attorney, it will likely come back to you with a note from the studio’s legal department explaining that it is being returned unread.

Here is another reason your spec probably won’t be produced. Let’s say you wrote a spec Mad Men. If you are creator/showrunner Matt Weiner — or anyone on the Mad Men writing staff — you know each of those characters intimately. Their voices resonate inside your head day after day, night after night, and even in the wee hours of the morning when you wish they would pipe down so you can get some sleep. You know absolutely every minor detail about their past because you’ve written it. As a freelance writer, no matter how much you study a show before you write it, you simply won’t have the same inside track that the show’s writers and producers do. So, if you have written a spec Mad Men, it is quite probable that here and there throughout your script you may have things that are slightly off. It could be a minor story or character point or it could be that your dialogue isn’t exactly character-specific. When your agent sends your spec script to the writing staff of Mad Men, they will no doubt pick up on the flaws in your script instantly, and they will conclude that you don’t know their show.

On the other hand, when your agent takes that same Mad Men script and sends it to shows like The Good Wife or Homeland, the producers of those shows may not see the flaws. The reason is that they are so busy writing and producing their own shows that, like you, they may watch Mad Men, but they don’t know it like the back of their hand. So any little bumps in your script will generally go unnoticed by the producers of another show.

While most agents will eventually send your spec script to the show you have written, they usually don’t expect much. Neither should you. However, there are lots of other shows out there where you or your agent can submit your work. If your spec script is outstanding, there is a chance you will get hired. And at the end of the day, that’s what you’re looking to do.

ONE DOWN (SIGH!) AT LEAST ONE MORE TO GO!

I wish I could tell you that once you have finished and polished your first spec script, you can sit back and relax. Unfortunately, you just can’t. You now need to write a second spec script. Most agents will want to see at least two writing samples before signing you. Unbelievable as it may sound, there seems to be a tendency among agents to think that if a new writer has one good spec script, it could be a fluke. Before signing you, agents want to be sure that you are someone who can consistently pump out good script after good script. Therefore, they will usually require two samples.

Another reason for needing more than one writing sample is that some producers are finicky. When it comes to television, many have definitive likes and dislikes. You have to give them what they want. If your only sample is a spec of The Walking Dead and the producer who is going to read your work vehemently dislikes The Walking Dead, even if you have written the most brilliant episode of The Walking Dead ever, chances are you still won’t get hired by that particular producer. Therefore, it’s good for your agent to be able to offer up another choice.

Now that you have a solid spec for an existing show under your belt, my suggestion is that your second spec script be a pilot. (See Chapter 13.) Writing something original is a chance for you to really shine. It’s an opportunity to showcase your writing talent. A place where your unique voice can really come through loud and clear. You can re-invent the wheel; do something new and edgy that we haven’t seen before. Also, agents highly encourage writers to have something original in their arsenal, as executives and producers often request it.

When writing a pilot script, I would suggest that you try to write something that is fairly different from your first spec, as you want to demonstrate that you are a writer with huge range, a writer who can write just about anything. If you are a comedy writer and you have already written a traditional multi-camera sitcom like The Big Bang Theory, it might be wise to try your hand at a single-camera comedy — or even an animated pilot. In the same vein, if you are writing drama and your first spec script is a character-driven show like The Good Wife, then you might want to try a drama pilot that’s more plot-driven like CSI. The goal is to prove that you are versatile — put you on any writing staff and you will be able to handle it.

While I am saying you must write two solid scripts to attract an agent or a manager, the truth is, you will need to keep writing script after script until you get hired. The best writers don’t stop at two. They continue to write every day in order to arm themselves with an impressive portfolio filled to the brim with one good writing sample after another.

I promise you that if you are truly committed to a career in TV writing, writing every day won’t be a waste of your time. In addition to having lots of material to show, you will find the material gets better as you go. Writing is like most things in life. The more you do it, the better you get.

TIME TO FLIP

Once you have written two solid comedy specs or two solid drama specs, it might be a good idea to then write a spec for the opposite genre. So if you’ve decided you want to write comedy and now have two good samples, I suggest that you spec a drama and keep it in your back pocket. The reason is that most of the time, comedy producers won’t read drama specs and drama producers won’t read comedy specs. As you will soon see, drama and comedy are, in their own ways, extremely different. Thus, it becomes difficult for producers who work in one area to accurately judge the other. In order to keep all of your prospects open, it is wise to have at least one script in the opposite arena.

Now that you know how the industry operates, it’s time to get to work. You must be ready when opportunity knocks. And in Los Angeles that can happen anytime anywhere. You never know who you might meet at a party or even standing in line at the grocery store.