I’ve asked a number of industry professionals this question while getting my own samples together, and I can tell you, everyone has a different answer. But there is one underlying piece of advice: write something you can write well.
If you have a great idea for an Office spec and you’re burning to write it, then write it. People may tell you, “You shouldn’t write an Office spec because EVERYONE wrote an Office spec five years ago.” But if you think it’s the script you can write the best, write it. A handful of execs may refuse to read yet another Office, but most will be more than happy to read something good. On the flip side of this question, if someone tells you to write a Big Bang Theory because it’s the current hot spec, but you don’t feel you can write it well, then do not write it. Write something you can write well.
Do plays, essays and short stories make good samples?
Yes, because they exhibit your unique voice. Plays can be particularly impressive, because many producers and execs consider the theater to be the “elite” alternative to TV and film. Furthermore, studios and production companies love to read material that can potentially be developed into a series or film (or in some cases, a book series, which can then be developed into a series or film). In addition, short stories and essays provide readers with a sample they can read through quickly, which is very enticing during staffing season when they have piles and piles of 40 - 60 page scripts to read.
If I submit an essay, should I also have a script sample?
There are no rules in Hollywood. I know writers who were hired without ever having written a spec. But generally, essays and short stories are submitted by writers in addition to their script samples. Many producers I know would refuse to hire someone who had never written a script, except maybe in the instance of a consultant who had special expertise in the subject of the series (like Aaron Sorkin hiring Clinton Press Secretary Dee Dee Myers for The West Wing.)
Should I write a spec or a pilot?
The current trend is to write a pilot. Some executives believe anyone can write a funny episode of The Office because it’s a funny show. (After reading several Office specs I can tell you, many people can’t write a funny episode of The Office, but I digress.) While pilots are the trend, they are very difficult to write, and I would never advise someone to write a pilot before they wrote a spec (or two or three) of an existing series.
Specing an existing series provides you with a concept and characters that “work” and allows you to focus on structure, dialogue, formatting, etc. Be honest with yourself about your skill set; I never would have been prepared to write a pilot had I not previously written a number of specs. A well written spec will get you much further than a poorly written pilot. Remember -- write what you can write well. And if you do attempt a pilot, be prepared for the process to take significantly more time and effort than a spec. You may have a few false starts; a few “back to square one” moments. That’s part of the process.
There is another genre of spec worth considering –- the high-concept spec. For example, the crossover spec: Dexter and Horatio meet and realize they’re working in the same Miami police department or Michael Scott meets David Brent. A spec Mary Tyler Moore Show that revealed Mary and Rhoda as lesbian lovers made the rounds a few years ago. A comedy pilot about a family of lovable terrorists also got a lot of attention. During the first season of Lost, I wanted to write the final episode of the series as a spec -- answering the questions posed in the first season, explaining the hatch, etc. But at the time I was working on another spec. By the time I was available to write my Lost spec, the world of the island had become so complicated that I didn’t know where to begin… but you get the idea.
RULES FOR SPECING A SERIES
As you know, this isn’t a “how to write a spec blog.” I generally link to more experienced writers for their advice on the matter. But there are a few general guidelines that every aspiring writer should follow:
SPEC SUCCESSFUL SHOWS
It’s helpful to pick a popular or critically acclaimed series. Some executives will refuse (or reluctantly agree) to read specs of shows they’ve never seen, but again, if you’re burning to write it, do so. Write something you can write well. You can’t please every executive. That said, if you’re tempted to spec a new, relatively unknown show, make sure it’s not likely to be canceled after six episodes.
DON’T LET YOUR GUEST STAR STEAL THE SHOW
Almost all shows provide the opportunity for you to create a new character (the patient/criminal/neighbor of the week). In fact, most readers will want to know that you can create a character in addition to properly using the regular characters on the show. Just remember who your main characters are. (Hint: they’re not the one(s) you created).
ABIDE BY THE “RULES” OF THE SHOW
Most of the biggest hits of modern television include some kind of serialized storyline, whether it’s Carrie and Big, Derek and Meredith, or John Locke and Benjamin Linus. It absolutely fine to spec a show with an ongoing story, but it’s important to follow a few simple rules when doing so: First, be sure to include an author’s note at the beginning of your script to let your reader know where the series was when your spec was written. (Click here to view the authors’ note I included with my Grey's spec.) Second, your spec shouldn’t change the essential world of the series. For instance, don’t write a Friday Night Lights where Jason Street walks again or a Two and a Half Men where Alan and Jake move out of Charlie's house. Create stand-alone stories within the world that currently exists in the show. And be prepared for the possibility that the episode of the show that airs the week after you finish your spec will blow your story out of the water. It happens. And it’s not the end of the world.
One last thing: sometimes you’ll think of a great story for a show you don’t love to watch… Write it. You don’t have to love watching a show to write it well. I wrote a Grey’s spec because I had a number of great medical story ideas. My friend was in med school at the time and was constantly calling me with tales from the front lines. Here’s my dirty little secret: when I decided to write a Grey’s, I had never seen a complete episode of the show. I bought seasons one and two on DVD and spent two weeks watching them. Then I wrote my outline. And that spec landed me my job at In Plain Sight.
Write what you can write well. If you’re confident in your abilities to execute an original script, write a pilot or a play. If not, spec an existing series. If you already have two or three scripted samples and you have an idea for a short story or essay that has the potential to be developed into a series or a film (or that will simply display your voice in a way your previous samples don’t) write it!. Write the piece you’re burning to write. And write what you can write well.
For more thoughts on this subject, check out Ken Levine’s advice on spec materials in his latest Friday Questions post.
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