SPECS AND ACCESS

[ZODITCH]

Okay, I'm going to ramble out some thoughts here about the whole Spec script thing and access to the people who can get you into a meeting.

So, you're wondering, how do I make my spec stand out? I don't know. Write a great one, I guess. But the problem is more of how do you get your script read in the first place.

Have a great agent, have a friend who's a producer, ya ya ya ya.

Okay, other than that. Here are some things to keep in mind when you work on your specs.

DO NOT write a spec script for the show you are submitting it for. I've covered this in another post. (See "Freelance vs. Staff Jobs" post number 10) So moving on.

Most producers ONLY read the first twelve pages. Why? Because we don't have time to read the whole script! We have a stack to get through. In twelve pages, I can tell whether someone has what it takes or what I need. Some of us read the FIRST twelve pages (I do) some just open the script and start reading. So you have to make sure that your entire script is riveting and engaging. On very rare occassions have I been compelled to read the entire script. It's happened and, in come cases, I have been impressed. In others, I have been disappointed to realize that the beginning of the script was all they had.

Most TV producers concentrate on Dialogue rather than story. And by dialogue, I don't just mean the natural pattern of speech. I mean how ideas and concepts are delivered without sounding "written" or expository. How the characters interact with each other in a natural way. Those kinds of things. Yes, the story needs to be interesting, but I intend to work with you on your story. I will be able to help you form your outline so that the story will be solid. However, when you go off to write those scenes, I have to feel comfortable that you can deliver those characters as naturally as possible. Time and time again, you will hear people say that they were impressed by someone's dialogue in their writing (MAJOR HINT: If you haven't taken an Improv class, DO IT! This will be invaluable in this area).

Not all producers are as obvious as their series. For example, if you look at my resume, you'll see that I have a lot of "action" series on it. But if you read my scripts, you'll note that I spend more time working on my characters. I like character stories. I like to write them, I like to read them, I like to see them. I have always referred to my episodes as "Character stories WITH action.". For me, I can write action in my sleep. I actually do choreograph my action scenes in my scripts and it's not a big deal. Character, though, that's much more difficult. And I look for people who can handle that. It's more likely that you would find me reading a DAWSON'S CREEK as a spec than a MORTAL KOMBAT.

Now, how are you supposed to know that? Here's where the research comes in. One relatively easy way is to go to seminars and panels with showrunners. And ASK them what they like to read. More importantly, take notes on EACH INDIVIDUAL. Most people just take general notes, looking for some sort of consensus among us all. It isn't like that. We all have particular tastes and you should know what they are. That way, when you are ready to send me a spec, you can look in your notes and see "Steven Sears... likes character based scripts with twenty dollar bills paperclipped to the cover". If you can't make it to seminars, do internet searches for interviews with people and make a profile for your records. It will really come in handy.

How do you get to talk to the people you need to talk to? Well, again, I would recommend seminars and the like. Many of these panels have dessert and coffee afterward for mingling with the guests. Take advantage of it.

Also, here's a "secret" that USED to work (but it might not work as well now). Call the office of the Story Editor, but try calling during the following hours: 7 a.m. to 9 a.m., 11:30 a.m. to 1:30 p.m., 6 p.m. to 7 p.m. Why? because these are the times that the office staff will most likely be out of the office. And if the show is in production, these are also times that the writing staff might actually be IN the office and picking up their own phones. These days, it's a long shot, but worth a try. I got to talk to a lot of people this way when I was starting out.

Now, let's say you get the Story Editor on the phone. What do you do? Make sure you have SOMETHING to say. Not just "uh... I'm a writer... want to be a writer... and I was wondering if... uhm...." That ain't going to fly. Rehearse how you are going to start the conversation. And I would start by saying that you are interested in her series and would love to know what the guidelines are for submissions. Don't try to submit over the phone, most people do that and you don't want to fall into that area. Listen to what the person has to say and say "Okay, let me see what I can do. Is it all right if I send it directly to you?" Chances are, they will say yes. Now, of course, you would have sent it to her office anyway, but now you can enclose a little note on it about your previous discussion and, more importantly, put the words "Requested material" on the envelope. That will usually get it right to the desk. But remember, the important thing is to be polite and professional on the phone. Don't sound desperate. And don't try to hang on the phone longer than is needed to get the info you want.

Then, after you have sent your script, wait a couple of weeks, and call to see if she got it and everything's okay. Then.... in my opinion, forget about it. Don't beat a dead horse. It doesn't mean that you got rejected, but it could. And it doesn't mean that you haven't been read, you might not have been. But beyond that point, it becomes annoying and your phone call won't be accepted. However, if later on (much later) you write a spec script which you think is much better, you have every right to call and say "Throw the other spec away! This one is much better and I'm sending it right over!"

Number one rule, though: Remember that you are a professional. Treat others that way and, more importantly, treat yourself that way.

Okay, that's it for now.

steve

[whistlelock]

you just answered about every question I had.

Thanks.

:D

[creativexec]

Great post!

[KD The Wubat]

Man, I know you're doing that whole "be nice, people were once nice to me" thing, but- are you sure you don't want to save all this advice up until you have enough for a book?

You could make a killing.

In the meantime, I'm printing it out and putting it on the wall.

(Of course, when I make a million dollars, I'll send you a muffin basket as thanks.)

KD

[ZODITCH]

Blueberry or chocolate chip, if you please. Or a combination of the two would be nice. All muffin baskets are happily accepted.

Maybe one day I'll compile all my stuff into one tome. But the truth of the matter is, I have no idea how to teach "writing" and I'm afraid I'd have to deal with that eventually. Since no one taught me, I have no point of reference. I don't even know the correct terms to teach actual writing. I know it when I see it and I can fix it when it's there. But teaching someone? Nope, not me. What I do have, and what I hope is useful, is eighteen years of continuous experience in the TV business. If some people can get some use out of that, great. No charge.

steve

[KD The Wubat]

Actually, I've long thought that if only someone would write a TV version of Max Adams' Screenwriter's Survival Guide, my life would be complete.

There are three million people trying to tell you how to write. Very few people have any advice to offer on "What Not To Wear To Your Pitch Meeting", you know?

Anyway. Assorted blueberry and chocolate chip. Gotcha.

KD

[whistlelock]

any particular brand you like or will any moist succulent muffin filled with blueberries/chocolatechips do?

[ZODITCH]

The little tiny pop-in-the-mouth kind are particularly welcome. They sit nicely next to the computer monitor when working.

steve

[Clomey]

Nice post yet again. You keep this up and soon they'll be asking you to be like a mediator of a chat or something.

I've got a q for you. What's the difference in style between writing one hour on network and one hour syndication? I know better that to think about ever specing one of these shows, but I'm interested in some day working on one perhaps. Any interesting thoughts?

[ZODITCH]

Thanks. But I'm not a mediator, I'm a rabble rouser. Not sure how that would work in a chat room.

There really is no general format difference between network and syndication except that syndis are usually a lot shorter and there could be as many as six act breaks. But the actual formats of the scripts are the same. Again, the best thing to do (for those who ARE looking to write specs) is to get a copy of a script of the target series.

And you can only use the page length as a general guide. So much depends on the way the series is shot and the length of the episodes and, in fact, the style each director uses. For example, when I was doing network series back in the late 80's, we wrote scripts that were 60 to 70 pages long. When I did my most recent syndication series, we were shooting 43 to 48 pages. And a lot of it gets shaken out in the post production editing process. I remember one Xena I wrote which was 39 pages long and it timed out at almost 18 minutes OVER.

steve

[Meltdown]

Cool that you worked on Riptide - one of my favorite series.

Okay have you found that action-based material tends to be written shorter as it may translate longer to the screen (your Xena example?)

[ZODITCH]

In general, Action scripts tend to be shorter page wise. But it also depends on how you write it. As I've said, I actually write out my choreography, I write out the stunts, so mine is a little longer than a writer who might just write "and he kicks his ass". The fact is that more of the action can be left to the director and second unit coordinator to figure out. So it's naturally going to diminsh the page number.

steve

[Meltdown]

Thanks, that's good to know as I'm the same way with my action.


Cheers

Melted of the cranium

[cybernautev]

Last year I got inspired and wrote a tv action series. The episodes in the beginning came very fast because I was inspired. However, they started winding down and I figured I’d never write another episode again. Over time, something would inspire me and once again I’d be at it.

I know it sounds egotistical, but I believe this series would be an easy hit. The reasoning is because I wrote only when I was inspired. I didn’t have a ball and chain over my head forcing me to churn out contrived stuff to meet a deadline. That’s why I say “it’s all good.”

I’m up to about 34 scripts/treatments. That’s a season and a half. There is action, but only when required for the storytelling. The goal is to make 100 episodes for syndication. If this were made into a series, the only problem looming ahead would be if other writers who took it over could keep up the same quality. I don’t think they can. And neither can I. Really, some story premises could be expanded into movies.

A producer actually read the pilot (which was THE WORST episode of the bunch, but the series has to start somewhere), and he liked it, but said it reminded him too much of another series. However, he was willing to do a reread before he made his final decision. I have not heard from him.

How can I get this series before serious people?

[ZODITCH]

Well, I can't give you any clear cut advice because what you've done, while admirable, just isn't the way it is done. So let me give you the negative as to why, then chat about what you can do with this magnum opus.

And it's hard to pick a starting point, so I'm going to let the thoughts drop onto the page... keyboard... monitor, whatever. And don't take offense to any of this, I am not trying to talk down to you. Just explaining some things.

Okay, a quick brief on how creating your own series happens. And, mind you, this is the theoretical way it usually happens.

You work as a writer for several years, building a reputation and a resume'. This work is done as a freelancer, but you eventually work on staff for a series. One, if it's a hit series, many if they aren't. During this, you make contacts and you manage to convince your agent that you are, in fact, a money maker. Your agent (or you) gets meetings with development people and you pitch your ideas to them. They look at your resume' and realize that you have the chops to actually write. And, they know you know how to work on staff. Hopefully, you have run at least one show, so they know you can do that. At that point, they run the idea around to their department heads, including sales, and see if the series might have an outlet. Bypassing a lot of details, they hire you to write a pilot script based on that idea. You write a script, they give notes, you accomodate what you can and rewrite and they look at it and decide if they want to greenlight the series. If they do, then if you have never run a series, they will bring in someone to run the series. You would be a producer and creator of the series and work on the staff. From that point on, you and the showrunner would develop script ideas, have them approved by the studio, and either write them or hire them out to be written.

Okay, I have REALLY simplified the process. Now, the problem with what you have done is two fold. One, you don't have the credits to back you up. So you can forget the idea of being the showrunner on the series. Running a television series is more than just coming up with script ideas and it takes a LOT of experience to do well. So the person in charge, whether you like it or not, will be the showrunner who will be brought in.

Secondly, you have set so much in stone already. You have not just written a pilot, you have written a series. And the studio, the network, the showrunner will all want to have their say in what gets produced. They will all have their take on what your series is all about. I know, you're the one who would know. That's not the way that Hollywood looks at it. And until you have the clout of a Bochco or Kelly, you aren't going to call all the shots.

Now both of those problems are forgetting the idea that you don't have an agent with the clout to get you into the meetings and introduce you to the people you need to meet.

So what can you do with all your hard work? Well, first of all, feel proud about yourself. Most people talk a good story, but rarely take the time to actually write one. Everybody has a great idea for a new series... and never take the time to actually write a script. Kudos to you for that.

But here's what I would suggest. You need to create a "package" for your series. And I don't mean you need to package it (which is completely different). I mean you need to make a presentation. Hollywood is always anxious to read pilot scripts, so you're ahead there. But one of the areas that a lot of writers (pro and amateur) fall down on is when they are in the meeting and one of the execs says "great premise. So tell me what episode seven would be about." What they are asking is an example of the week to week kind of stories. You'd be surprised how many writers don't take the time to figure that out. You, however, are able to jump right in and pitch the whole thing! So what you should do is write an introduction for the series (one page, one paragraph, quick and to the meat of what makes this series different). Then a treatment for the series, where you go into detail about the characters and their relationships. Your pilot script next, you already have that. Then prepare a synopsis of all your episodes. One paragraph each, they should read slightly better than a TV Guide blurb. Number them. But title them as "Possible episodes". DO NOT let them know that you have them all written out, no matter how tempting it is. Okay, you might say you wrote one extra script or two just to get the feel of the series, but don't scare them off by saying you have the first two seasons already written out. This will give the impression that you are saying that you have done it all and they aren't really needed except as a vehicle to the masses.

Now if you really want to go overboard, you might prepare some graphics and, if ambitious, a video that gives the feel of the series. This can be done with original footage that you shoot (and don't do this unless you use film and are REALLY good at it) or using clips from movies and series that are similar in order to give the idea that these are clips from YOUR series (obviously, they have to be clips from more obscure movies or series to get away with this). This, however, is something that takes some experience to do well, so I would just stick to the written material.

Anyway, once your presentation is ready to go, you go... but I don't know where. You can try making phone calls to the development people of the various studios or try to use your material to get an agent. Or both at the same time, in fact.

If you decide to mail your work blind to people, make sure that you address it to a specific person and keep your cover letter to a minimum. Don't be too arrogant (saying you have the best series that has ever been conceived is arrogant) and don't say that you are a beginning writer who wants to get into the business. Keep it professional. "Enclosed is a project I have been working on. I think you'll find it interesting. Thank you for your time and enjoy." That's really all you need. The next page should be your intro page. And, hopefully, that will be compelling enough to make them read more.

Good luck. And, again, kudos on the hard work.

steve

[cybernautev]

Thank you for taking the time to detail the steps in launching a series. Much of what I’ve read about the industry is exactly as you state it. I believe I come across a bit arrogant at times, but actually I’m excited about what I have and enthusiastic to share it.

In the fantasy world where a network would actually be willing the produce this series, if they didn’t suggest someone else be in charge as producer, I would insist on it. After all, what do I know about putting a show together? In fact, I would need a writing team to help me knock out the scripts because in some cases, there isn’t enough storytelling to fill a full hour. If someone else has a better idea on which way to go, I’ll be the first one to steal it. I have no pride. If someone else can make the dialogue sound more authentic or witty, bring him on. Also, I don’t want to bear the heavy responsibility of making the deadline every week. Quite frankly, I don’t believe I can do it.

So I don’t have a problem with others getting in on the act or even taking over. One thing I do choose to retain, however, is legal license. That is, suppose I created “Superman.” I would want to retain full legal control before anyone started making movies over it. What I have is character-driven and I think would make a good character franchise.

Well, I’m off on other projects. I recently read a biography of a criminal’s life that would I think would make a great movie, so I’m doing the screenplay on that. I think one of the projects I do will eventually get me through the door. That’s when I pull out the series and try to peddle it on some unsuspecting executive. Somewhere down the line, someone’s going to find this series intriguing. And that person’s going to be very rich.