Looking to write a spec script for television ...

May 19, 2008 11:21 AM

Some questions about writing a television spec script.

I'm interested in adding a television spec script to my writing portfolio before moving to Los Angeles. I tend to write gritty crime drama, and had an idea that would work well as an episode of The Shield, which would be my dream show to work for if its final season wasn't already in the can. Is writing a spec script for a show that is going off the air a bad idea? If so, what elements should I look for in picking a show to spec? What are the dos and donts of creating a spec (excluding general tips on television writing and dramatic structure)? I know that one doesn't write a spec for the actual show one wishes to write for. What other common faux pas are there?

Thanks!

posted by Bookhouse to media & arts (4 comments total)

Read Jane Espenson's Blog. A search for "spec" on her site turns up literally hundreds of entries, all packed with great advice.
posted by junkbox at 11:36 AM on May 19, 2008

Ken Levine was more of a sitcom writer/director (his blog is By Ken Levine), but he's given some advice to people writing for dramas, too. If I recall, he said that if it was a "classic" show (i.e. anybody reading the script would be familiar with the style), then it would keep a couple seasons. He strongly advised not to turn in anything that's been off the air more than two or three years, though. So I guess The Shield would be OK for now, but you better start on something new.

He's given a couple faux pas lists in previous entries. Probably worth a google.
posted by aswego at 11:51 AM on May 19, 2008

Straight from my Executive Producer friend: Right now, most EPs will read pretty much anything, including features and pilots. Most of the TV writers I know have at least one or two pilots in their stable of samples -- and that includes young writers, who often just write the pilots because plenty of EPs happily read them in lieu of spec'd shows, and there are so few shows on television these days that actually lend themselves to writing specs that it's almost a necessity. And besides, EPs get REALLY sick of reading the same shows over and over again. You are correct in assuming that spec'ing a show that is either long in the tooth or off the air is a bad idea. In a year or three, that spec will be out of date, and you'll never use it again. That's why pilots are so great -- they never go out of style.

If I were writing a spec right now in the hour-long, I'd do a Sarah Connor Chronicles, or maybe a Pushing Daisies, maybe The Unit. Honestly, I can't even fathom taking on any of the CBS procedurals -- they all feel so similar, and so tired. I suppose that's your genre, though, so maybe a Numb3rs or Without a Trace, though all those CBS shows get spec'd a lot.

If you're moving to Los Angeles and you want to make a splash and sign a TV agent, write a kick-ass Mad Men. Personally, I feel like a quality hour-long will transcend the exact genre, so even though Sarah Connor Chronicles is technically sci-fi, I can see a crime show being interested in how you handle the story and construction. If you can write a great Mad Men, that'll prove you know character and drama and tension, and those qualities translate to nearly every genre.
posted by incessant at 11:58 AM on May 19, 2008 [1 favorite]

The industry being in the situation it's in now, things could certainly have changed, but with The Shield being in its last season, it makes no sense to write a spec for it. You want something current to show off.

I had Martie Cook in class as she was writing this, which is basically a nice summary of what I spent a lot more money on. She's got a lot of tips and great advice.
posted by mjessen at 6:13 PM on May 19, 2008