Selling a spec pilot

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  • Selling a spec pilot

    My original spec pilot has been making the rounds and has attracted the attention of showrunners and networks. As I get closer to the holy grail of a sale, I'm faced with a bunch of questions:

    I'm an unproduced writer with no clout. What type of credit can I hope for if the show were to sell and actually go to series? Would I be relegated to a simple writing credit for the pilot, or could I retain credit as one of the shows creators (or anything in between)? Or is the "creator" title generally wrested away from the lowly first-time writer and taken up by the showrunner?

    Do writers in my position often negotiate for permanent jobs on the show? And if so, what position should I seek? Staff writer, some type of producer, consultant? I'm not sure what would be reasonable to ask for -- I wrote the script, but have no real experience in TV yet.

    Thanks everyone,
    Ben

  • #2
    Re: Selling a spec pilot

    You will be the creator. And will almost certainly be able to get some sort of producing credit. Maybe supervising or co-ep or even ep if there's enough demand. It's up to your agent/lawyer to negotiate other stuff, like if you want to write an episode or two, etc.

    Just talk it out with your reps. That's what they're there for.

    Best of luck!
    http://twitter.com/JohnSwetnam

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    • #3
      Re: Selling a spec pilot

      The sale of original spec pilots by unknown writers is very rare so congrats on the progress you've made.

      Could you be more specific as to what you mean by attention? Do you have a rep who has submitted your work to buyers? Obviously they would be able to answer questions about what a potential deal would look like.

      Creator is a title determined by the WGA after a produced pilot has gone to series. It is determined by looking at the written material used in shooting the pilot. So if you write every draft, you are the creator. If another writer is brought on and rewrites you significantly, some shared creator credit is likely.

      Which brings me to your other questions - generally, in TV, networks buy not just the idea, but the writers' ability to execute it. Anybody can come up with a Legal drama but David E. Kelley is going to execute it in a way that is distinct and unique. So it goes with many writers you've neve heard of who have long standing relationships with studios and networks because they've worked for years on existing shows.

      So if they buy a pilot - it's usually because they're buying the services of the people involved with it - even if that means it's JJ Abrams producing another writer's work because JJ has a distinct brand.

      If someone buys a pilot from you, it's going to be not just because of the idea, but because of the writing, so keeping you on is likely. If someone is just interested in the idea, and says they want to get a more established writer on board to facilitate a sale, they're grasping at straws a bit. This isn't unheard of, but the truth is that most established writers are more interested in pursuing their own original work, not jumping onto somebody else's.

      Good luck.

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      • #4
        Re: Selling a spec pilot

        It also depends on the situation, it will be easier to get a higher (Co-EP or EP) credit if your buyer is a FX, A&E, Syfy etc.

        With a broadcast net, you will definitely still retain a Creator and a producer credit, it will most likely be as a Supervising Producer or a Co-Producer. Both of which are much better than a poke in the eye, however.

        EDIT: But yes, definitely this is a question/situation that your reps can handle.
        Last edited by Levenger; 09-28-2012, 09:56 AM.

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        • #5
          Re: Selling a spec pilot

          First off, congrats on getting this far. If I was in your shoes, I'd also be looking for ways to get staffed on a show. A showrunner might not want to attach him/herself on your project, but might love your writing and consider you for a spot when they get another show off the ground. Definitely stay in touch with everyone you meet with and keep that possibility open in case your pilot doesn't sell. It's still good to use as a calling card to get work.

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          • #6
            Re: Selling a spec pilot

            Originally posted by jimjimgrande View Post
            Creator is a title determined by the WGA after a produced pilot has gone to series. It is determined by looking at the written material used in shooting the pilot. So if you write every draft, you are the creator. If another writer is brought on and rewrites you significantly, some shared creator credit is likely.
            There can also be a "Developed by" credit if it's determined the original idea was "Created by" the original and the show runner further expanded the series. So it's possible the original author could keep sole created by credit.

            Regarding title, I'd think given your lack of experience that the show runner would have more power so would be the EP and your title would reflect a lower status on the pole (like co-EP). So, best case, I'd think you could be the creator with co-EP credit. Worst case, shared creator credit and a consulting producer title. But even that would be huge.

            Good luck!

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            • #7
              Re: Selling a spec pilot

              ben,
              since you're posting such a big question here, it makes me wonder if you have good representation. this is a situation where you want it. if you only have a manager with limited experience, try to get an agent. now. with real experience. selling tv lit is a very specific practice.

              you don't want to just sell this property, you want meetings. and you want something to come out of the meetings. have you thought about what the big vision for this show is? (ie, how it works over multiple seasons?) it may or may not be the buyers big vision for the show. different networks have very different mandates and might take it in all kinds of different directions. ive seen newbies shoot themselves in the foot right here, over and over. not knowing you or your property its hard to give you advice. but i assume you want to work on this show, not just sell it. to that end, try to discern what their vision is for the show. see if it lines up with your ideas. if it doesnt, try to really listen and see if you can buy into their vision. then present yourself as someone who only wants to help, not hinder. who wants to participate and who wants to learn. and if it does line up (and again, here is where newbie enthusiasm trumps listening, be careful) present your ideas as ideas. as possibilities. be the kind of person they WANT to hire. helpful, open, enthusiastic, willing.

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              • #8
                Re: Selling a spec pilot

                Originally posted by killertv View Post
                There can also be a "Developed by" credit if it's determined the original idea was "Created by" the original and the show runner further expanded the series. So it's possible the original author could keep sole created by credit.
                Not exactly.

                Developed by refers to material derived from another IP. Generally, an unproduced spec script won't be considered that way as would a short story, movie, webseries, or book.

                Lost is a perfect example. The credited creators are Lieber, Lindelof, and Abrams. The pilot was originally written by Lieber, but ABC chose not to produce it. They gave it to JJ who then brought in Lindelof and they rewrote it into the show that got on the air. Lieber was not involved in any of that, but the WGA determined that he was due credit and so all three were given creator credit when the show went to series.

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                • #9
                  Re: Selling a spec pilot

                  Thanks so much, guys. This is all incredibly helpful.

                  Originally posted by docgonzo
                  First off, congrats on getting this far. If I was in your shoes, I'd also be looking for ways to get staffed on a show.
                  Yes, I am definitely trying to parlay this into a staffing gig. Meeting with lots of producers and showrunners hoping to do just that.

                  Originally posted by holly
                  ben,
                  since you're posting such a big question here, it makes me wonder if you have good representation. this is a situation where you want it. if you only have a manager with limited experience, try to get an agent. now.
                  I am actually without representation right now. All the headway I've made has been through the producers I'm working with. I, and they, are trying to leverage the attention we've gotten into getting some representation, but it's just not as easy as one would hope. There's some flirtation, but until a deal is on the table, I'm finding that agents are wary of taking on a new client when all it means is another writer they're mandated to find work for when staffing season comes around. They don't seem to want to bite until after the showrunners have a network pull the trigger on a sale. Still plugging away at it and exploiting every possible angle of course. But, it seems that the showrunners and EPs themselves are the more useful contacts for staffing opportunities at this point. Probably at any point really.

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                  • #10
                    Re: Selling a spec pilot

                    Hi Ben,
                    you say you are an unproduced writer with no clout, but you say there are producers you are working with.

                    If I may ask, how did you find/contact the producers you are working with?

                    I ask because I am at the point where I have written a number of episodes of a series and I have a bible, but have not yet found any producers to submit it to.

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                    • #11
                      Re: Selling a spec pilot

                      Honestly, it started with meeting one director/producer. Working with that person on a spec feature. Having him introduce me to another producer. Working for him on spec. Then that guy introduced me to another. And so on for another few generations, then I arrived at this project, a pilot written on spec with a TV director who owned the original property -- he's the one with incredible connections at the networks and he's the one who's gotten it into every door.

                      Following that model of networking and writing, I've just now started to arrive at paid gigs. The lesson for me has been to put yourself out there, meet people, work for free at first, and work your ass off so your name and reputation build. After that the jobs, agents, etc. will come. Hard work, good work, and meeting the right people.

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                      • #12
                        Re: Selling a spec pilot

                        Originally posted by BenJacoby View Post
                        The lesson for me has been to put yourself out there, meet people, work for free at first, and work your ass off so your name and reputation build. After that the jobs, agents, etc. will come. Hard work, good work, and meeting the right people.
                        +1000

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                        • #13
                          Re: Selling a spec pilot

                          Any update on how this is working for you, Ben?

                          I'm in the same-ish boat. I'm a novelist. (Published by the big houses, with mediocre sales.) I wrote a spec pilot for an idea that I was considering writing as a novel series. A writer friend introduced me to a producer (based on one of the studio lots, which I understand means they're legit), and we're working together on rewrites before submitting it to networks.

                          I have a literary agent but no film/TV representation. I'm pretty sure that having this producer on board means my chances of seeing a dollar from this project has skyrocketed all the way up to 1%.

                          But I'm wondering where, in the spec pilot process, someone might cut me a check. I suspect I'm doing too much free work on this project (which I don't, in publishing, but it strikes me as fair to show this producer my chops), and am fairly certain that I'm setting myself up for a 'near miss' in which I get some polite interest and no sale. And no representation. And no nothing.

                          Should I try to leverage the current interest into representation? I don't have a fire-in-the-belly for screenplays, but I've been a working novelist for 15 years. I know story cold. I'd love to pick up some rewriting work (well, rewriting paydays).

                          So. Do I let this pilot play out (then fade out) and focus on writing novels? Or is there a real possibility that I can leverage the glimmering of spec pilot interest, which I suspect will fade by February, into a longer-term situation?

                          If the latter, how?

                          Comment


                          • #14
                            Re: Selling a spec pilot

                            Originally posted by jrandross View Post
                            Any update on how this is working for you, Ben?

                            I'm in the same-ish boat. I'm a novelist. (Published by the big houses, with mediocre sales.) I wrote a spec pilot for an idea that I was considering writing as a novel series. A writer friend introduced me to a producer (based on one of the studio lots, which I understand means they're legit), and we're working together on rewrites before submitting it to networks.

                            I have a literary agent but no film/TV representation. I'm pretty sure that having this producer on board means my chances of seeing a dollar from this project has skyrocketed all the way up to 1%.

                            But I'm wondering where, in the spec pilot process, someone might cut me a check. I suspect I'm doing too much free work on this project (which I don't, in publishing, but it strikes me as fair to show this producer my chops), and am fairly certain that I'm setting myself up for a 'near miss' in which I get some polite interest and no sale. And no representation. And no nothing.

                            Should I try to leverage the current interest into representation? I don't have a fire-in-the-belly for screenplays, but I've been a working novelist for 15 years. I know story cold. I'd love to pick up some rewriting work (well, rewriting paydays).

                            So. Do I let this pilot play out (then fade out) and focus on writing novels? Or is there a real possibility that I can leverage the glimmering of spec pilot interest, which I suspect will fade by February, into a longer-term situation?

                            If the latter, how?
                            Definitely leverage the current opportunity to get reps, and because this guy is legit you should ask the producer for a referral to an agent. Would your lit agent be able to call a few agents, on your behalf?
                            "Write every day. Don't quit. The rest is all bullshit." - Brian Koppelman

                            Comment


                            • #15
                              Re: Selling a spec pilot

                              Originally posted by jrandross View Post
                              Any update on how this is working for you, Ben?

                              I'm in the same-ish boat. I'm a novelist. (Published by the big houses, with mediocre sales.) I wrote a spec pilot for an idea that I was considering writing as a novel series. A writer friend introduced me to a producer (based on one of the studio lots, which I understand means they're legit), and we're working together on rewrites before submitting it to networks.

                              I have a literary agent but no film/TV representation. I'm pretty sure that having this producer on board means my chances of seeing a dollar from this project has skyrocketed all the way up to 1%.

                              But I'm wondering where, in the spec pilot process, someone might cut me a check. I suspect I'm doing too much free work on this project (which I don't, in publishing, but it strikes me as fair to show this producer my chops), and am fairly certain that I'm setting myself up for a 'near miss' in which I get some polite interest and no sale. And no representation. And no nothing.

                              Should I try to leverage the current interest into representation? I don't have a fire-in-the-belly for screenplays, but I've been a working novelist for 15 years. I know story cold. I'd love to pick up some rewriting work (well, rewriting paydays).

                              So. Do I let this pilot play out (then fade out) and focus on writing novels? Or is there a real possibility that I can leverage the glimmering of spec pilot interest, which I suspect will fade by February, into a longer-term situation?

                              If the latter, how?
                              If you're passionate about the project, then I reckon you should play it out. If the producer digs the work you will have done, he'll slip it to right people, including reps. Even if the pilot doesn't sell, it can be sample to land work.

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