Screenwriting : TV Drama Spec Scripts - Good or Bad Idea? by Tivoli Silas

Why have your friends suggested you write a TV spec script?

I'm not entirely sure, but they're all recent graduates like me.

They suggested it as a way to get my foot in the door for screenwriting.

If you want to write for TV then sure, try your hand at TV spec scripts. There are also many other ways you can promote yourself as a writer and in this highly competitive market you should utilize as many opportunities as you can muster. Write sample scripts for existing TV shows but also show your ability by creating your own pilot and develop enough ideas to fill an entire season. Good luck.

Tivoli, Craig Thomas is on the right track here. Specs used to be the real "foot in the door" for TV...but in recent years, for a variety of reasons, the trend has shifted to original pilots. Part of this likely has to do with the sheer volume of content available - even if you write the world's best spec episode of, say, The Flash, that only comes across if the exec/manager/showrunner who reads it is already familiar with the show (and, as has been noted, no one on the Flash staff will read your spec). Pilots allow you to show your own voice and specific talents (are you great at plotting? Dialogue? Character moments?). I cut my TV-writing teeth on specs - but I'll never send any of them out. If you want a fantastic crash-course in TV writing, I recommend the Children of Tendu podcast. They cover this subject and tons more in detail. Best of luck!

It's funny that you mentioned The Flash, Matt, since that's my favorite show and I was considering writing a spec for it. Thanks for the advise!

Tivoli, I love The Flash as well! I actually started a spec for it in Season 2, but set it aside to work on a pilot instead. CJ, thanks! I hate to contradict you, but writing a pilot for existing characters you don't have the rights to is also something to avoid. You'll run into many of the same legal hassles you might when trying to submit spec scripts - many readers won't recognize the characters, and if/when they do, they'll be forced to stop reading for legal reasons. My suggestion (and what I did for one of the pilots I'm currently working on): identify what it is you like so much/connect with about The Flash - themes, etc - and find your own story to tell while utilizing them.

CJ, apologies - to clarify, I meant that you should identify, for example, broader thematic elements that you enjoy - then write a wholly original pilot. For example, I love the inherent optimism of The Flash, the idea of a hero who chooses to be one simply because he can...so I drew from that thematic concept in forming my own pilot. Utilizing characters you don't have the rights to in any way is a recipe for a mess.

Oh yay, The Flash! I love a superhero with the ability to slow time! No Matt, I will never get over that. Ever. But as he said, don't write specs. They don't sell... unless you do some crazy insane take on it, and only then it's to get you other writing gigs. The most recent example of this is the comedian who wrote a SEINFELD episode that takes place days after 9/11. It's hilarious, and I guarantee it got him more than a few meetings. There's also the dude who wrote a spec based on Mary Kate and Ashley Olsen getting their first period. Stuff like that, specs with borderline insane takes that would never have been dreamed up by the original writers of the show... yes, those specs are worth it (and only to act as a writing sample). But if you just write a spec of THE FLASH that's "a really good episode" nobody is going to care. They already have a team of writers who can write really good episodes of THE FLASH. Then again, having seen THE FLASH I'm confident they don't have a single writer who can write a really good episode. BOOM. Wow... that was a long way to go just to dog Matt's favorite show. #worthit

This is definitely a great convo, guys! One distinction I think is worth making (re: your comment, Kay), is that having a spec episode of an existing series in your portfolio could be helpful. Writing specs isn't a bad thing in and of itself. It's like a deep cut on a record - not what hits the airwaves and gets you attention, but something that can be used to answer the question "what else you got?" from a potential agent/manager/showrunner. You're right, Ben, it's super confusing - because TV is a fluid business, and the rules keep changing (it drives me nuts too, don't worry). Back in the day, shows like Star Trek had an open submissions policy and several of today's working genre writers got their start that way. Today, that never happens. Perhaps what the writers you talk to are referring to, is that once you're in the door and a known writer, a spec can help get you a position on a staff. As a newbie, that's less likely. Again, I super recommend listening to the Children of Tendu podcast (done by working writers) as they have an entire episode devoted to this subject and are much, much smarter than I am.

Kay your friend gave you some silly advice. Writing a spec episode of an existing series would be a waste of time unless you had connections to the show.

Hey I've replied in previous threads about this same question. But the most strategic reason to spec an episode is when you're applying for a studio/network writers' program that requires a spec for the application, e.g. http://writersworkshop.warnerbros.com/. Otherwise, if you are trying to get signed by an agent/manager, they will virtually always need to read an original pilot script (not a spec episode) and love it. As Matt Hurd said, the general importance of spec episode scripts has decreased. Only 10 years ago, it was a different story. If you have both a great spec episode script AND a great original pilot script, you're rocking. If you have to prioritize one over the other, like Matt said, these days, you should most likely focus on the original pilot. Unless you're applying to writers' programs. -To get signed, you'll almost always need an original pilot script. -When I've introduced writers to agents/managers, I have NEVER ONCE sent a spec episode script for representation consideration, only original pilot scripts. -Even if you get signed, you might want to apply to a writers' program. In which case, you are likely to need a spec ep script per the application instructions. -After you are signed, to get staffed, you might or might not need a spec episode script. There's a chance that a studio/showrunner might want to read a spec ep to see that you can put yourself in the mindset of a staff writer. The studio/showrunner will almost certainly want to read an original pilot script to staff you.

Tivoli: isn't everything a drama? Comic book shows are dramas, cop/doctor/lawyer/swindler/paramedic/family/gangster/high school kids/college kids/music producer/etc. etc. shows are dramas. Even comedies are dramas. Everything is drama.

What if I wanted to write a spec script based on a book series and use that to pitch the idea to the studio that would have easy access to the book's rights because they are owned by the same company (after I become more established)?

RE: the question right above -- If I were the studio exec, I'd have to ask Legal Affairs to send you a Cease & Desist. They may not do that, but it's pretty standard policy. The rights owner can grant permission for you to pitch a take, but if you do so without permission, it's infringement of rights, and they may try to put a stop to your efforts.

there are many ways to look at it some times you have to look out side the box

I was going to mention the Writer's Workshop program/contest but I see Regina already got you covered. I would say there's nothing wrong with writing spec scripts and having them as something in your portfolio. Multiple styles and genres could be presented to a studio or prospective agent to show your versatility without having to toil with creating a brand new property. I think because of the litigious nature of the world, studios/prodcos may avoid reading specs of shows they make, because if they were to read them and use your ideas(even accidentally) you could sue them. I would consider writing specs for shows that have ended, you may even be able to find some show bibles floating around to prove that you can write within style guidelines.

Kay, we all have different opinions on how to do things. I wasn't offering advice I was commenting on something posted.

I went back and added more context for my reply. In case this helps anyone: Hey I've replied in previous threads about this same question. But the most strategic reason to spec an episode is when you're applying for a studio/network writers' program that requires a spec for the application, e.g. http://writersworkshop.warnerbros.com/. Otherwise, if you are trying to get signed by an agent/manager, they will virtually always need to read an original pilot script (not a spec episode) and love it. As Matt Hurd said, the general importance of spec episode scripts has decreased. Only 10 years ago, it was a different story. If you have both a great spec episode script AND a great original pilot script, you're rocking. If you have to prioritize one over the other, like Matt said, these days, you should most likely focus on the original pilot. Unless you're applying to writers' programs. -To get signed, you'll almost always need an original pilot script. -When I've introduced writers to agents/managers, I have NEVER ONCE sent a spec episode script for representation consideration, only original pilot scripts. -Even if you get signed, you might want to apply to a writers' program. In which case, you are likely to need a spec ep script per the application instructions. -After you are signed, to get staffed, you might or might not need a spec episode script. There's a chance that a studio/showrunner might want to read a spec ep to see that you can put yourself in the mindset of a staff writer. The studio/showrunner will almost certainly want to read an original pilot script to staff you.

To hone your skills, as your build up to writing that script that gets you signed, as Matt Hurd said, maybe it could help you to practice by writing spec episodes. For some people, that's gotta be a good learning tool. For others, writing originals will be an equally good learning tool. You should probably practice both, but please see my reply above for context on what you'll ultimately need to show to the market.

The difficulty is that when a new writer writes an original pilot, sometimes it showcases more flaws than strengths in his arsenal. But yeah, your showcase piece these days must be an original, not spec ep (per my above posts). Except for writers' programs which require 1-2 spec eps.

No

FYI, I was just in a CineStory Board meeting on Monday with a WGA agent who said she hasn't read a spec episode in 3-4 years, only original pilots. I think I've read 2 spec episodes in the last 2 years. But please do not take this info out of context.

For writing spec scripts, how would I format the "previously on" part of the script? Is there any way I could find a sample script that's not a pilot?

Are you writing for a contest or application? If so, check their rules for "previously on."

I'm just writing one for practice for now. I might eventually submit it, so I'll check the rules then.

If it's for personal development, it doesn't matter. It wouldn't surprise me if editors take care of the previously portion more than writers. Write a show based on the characters. Follow the storyline if possible. If not, make it an episode that follows a subplot that interests you the most. I'd go with the latter because that will help bring your own ideas and eventually make it easier to write an original pilot. Why not create your own superhero or vigilante? Comic books are a writing-centric medium. They incorporate visual storytelling more than novels. It's not only good practice for film, but stands a better chance of publication than a spec script. If the comic does well, keep the pilot on hand and pitch it to an agent.

Everything Regina said is right on the money and has been my experience as well.

Regina and Danny speak from experience, listen to it. Just because all you watch are comic book TV series doesn't mean you don't have an original idea. Just takes time, patience, practice, and persistence.

If you write a spec screenplay for an existing TV show don't plan on selling it.