PrimeTime: Hot Specs ... Hot Lunches ... and Pesky Brits

Today's first e-mail comes from Jason, who writes …

I want to write a spec of FX's The League, but it's an unscripted/outlined/highly improved show. Is it acceptable to write a spec script for a show that is unscripted or will I be laughed out of every agency in town?

Well, Jason -- the good news is: you absolutely will NOT be "laughed out" of the room for writing a show that's unscripted or highly improvised.

While these shows may not use traditional writing processes (although most are much more written than they appear to be), they still tell stories and have characters with distinct, unique voices … and this is what's important. A few years ago, for instance, Curb Your Enthusiasm was one of the most widely specced shows in Hollywood. And one of the hot scripts making the rounds this last staffing season was a spec script of Jersey Shore!

To spec or not to spec ... that is the question.

The bad news: I don't know how use-able The League is as a spec script; I'm not sure it's widely enough watched or followed by people in the industry. This doesn't mean you shouldn't write it; it simply means you should be aware that there may many people who won't read it or appreciate it.

In fact, because I've received a lot of questions lately about what shows to spec (like Anthony's June 20th post about wanting to spec Breaking Bad), I decided to do a little informal survey this week. I asked three studio execs what current shows they felt were speccable. (I promised the execs I'd keep them anonymous, but they all work for major TV studios.

Here are the shows they suggested:*

Dramas

The Good Wife -- It's procedural, but with strong characters. Great for a spec.
Justified
True Blood
Royal Pains(USA) -- One exec called this "the new House," adding that while some execs may not be super-familiar with it, it's a creative show that looks like it'll be on the air for a while.
White Collar (USA) -- Like Royal Pains, some people may not be familiar with it, so it's a bit riskier … but still a good spec.

FYI, ironically, one exec suggested Grey's Anatomy, Mad Men, The Mentalist,and Castle … while others have specifically said NOT to spec these shows … these shows are too old and tired. Someone also suggested AMC's The Killing -- but this show is so serialized I wouldn't recommend it (or even know how to spec it).

Comedy

Modern Family
Glee
The Big Bang Theory
Parks & Recreation
30 Rock
Community
Raising Hope

*Not every exec agreed on these shows, but each show was mentioned by at least one exec. And as I mentioned above, some execs totally contradicted each other!

Now, Jason and Anthony -- obviously, neither of the shows you wanted to spec, The League and Breaking Bad, are on this list. Should that deter you? ... That's up to you. Three things to consider …

The shows listed above are the opinions of only three execs … although they're probably fairly representative of many execs, producers, and agents.
Spec pilots seem to be much hotter than sample specs right now. While spec pilots rarely sell (although it happens more now than in a pre-Desperate Housewives world), they're very much in vogue as writing samples. Some people still read specs … and writing specs is probably the best way to learn the form of TV-writing … but spec pilots are no longer anathema like they were a few years ago.

Most importantly ...

I believe you always have to

write whatever you're most passionate about

If you're not writing with blood, you're not really writing.

So if you love Breaking Bad … or The League … or The Killing … and you have a story for one of those shows clawing its way out of you … WRITE THAT.

It may never be the most widely read spec in town, but if you pour your heart and soul into it, it'll blow away anyone who does read it.

And a beautifully written spec of The League … or Grey's Anatomy … or Jersey Shore … will take you much farther than a mediocre spec of a hot show like Modern Family.

Question #2 ...

The next question comes from Ian, who writes in response to my June 28th column, "How Do I Get an Agent? – Part Two," in which I advocate taking people to lunch as a terrific networking tool ...

Where do you find this magical money to pay for people's lunches? I honestly don’t understand that part. And doing all that work just to get rejected … it’s very depressing. I think you should at least know your work is at a certain level before showing it to someone like an agent. Otherwise, why are you showing someone in the first place?

First of all, Lee, I completely agree with your second statement.

You should definitely "know your work is at a certain level before showing it to someone like an agent."

In fact, I think one of the biggest mistakes made by newbies and aspirants is that they show their work too early … WAY too early.

While it's fine to show early scripts and drafts to friends, family, or trusted advisers (especially if you're looking for constructive feedback), you shouldn't be showing your work to agents, producers, executives, managers, or showrunners until you feel 110 percent certain it's at a professional level.

And how do you know it's at a professional level? ...

If you're not reading this much... you're probably not writing that much.

Well, in addition to writing constantly … you should be reading constantly: produced screenplays, produced teleplays, whatever your medium. (As well as short stories, novels, articles, and any other form of storytelling you can get your hands on.)

Thanks to the Internet these days, it's super-easy to find scripts at websites like the Internet Movie Script Database and Script City.

(You can also go to my website, ChadGervich.com, and click on "Resources & Links." Under "Got Scripts?", you'll find other great sources for finding, buying, and reading screenplays and teleplays.)

Study scripts from your favorite recent movies or TV shows … and compare them to yours.

If you want to grab an agent or executive's attention, your script doesn’t need to be as good as these professional scripts …

It needs to be BETTER than these professional scripts. (Which it can be … it just takes hundreds of hours of hard, grueling work -- which is what writing's about!)

As for your first question:

Where do you find this magical money to pay for people's lunches? I honestly don't understand that part.

Uh ... it's not that hard to understand …

YOU HAVE A JOB.

And if you don't have one now … GO GET ONE. Preferably in the industry.

(Here are some past posts I've written that should help you: Getting Your First Job in the Industry and How To Break in If You're Not in L.A.)

Also, you don't need to take people to expensive restaurants. I wouldn't suggest McDonald's, but find a quiet, inexpensive cafe where you can sit, talk, listen, and get to know each other. If you can't afford lunch, take people to drinks or coffee.

And if you really can't afford taking people to lunch … or a latte … or a beer … get creative! If you meet an agent's assistant you'd like to know better, and you discover you each love puppies, take your dogs to the dog park together! If you're fitness buffs, go hiking. Invite him/her to a business party you're attending.

Your next power lunch.

The goal isn't to dazzle someone with a fancy meal; it's to get to know them, to listen to and respect their story, to start a relationship. And that can be done anywhere.

Also, speaking of lunch …

TED -- thank you so much for your invite to lunch … beautifully done, I might add!

Unfortunately, while I'm always up for a free lunch, I'm about to head back into production … which means late nights and no lunches for the next many weeks or months.

Also, for what it's worth -- although I probably speak for most people -- I rarely go to lunch with people I haven't met personally, or who haven't been referred to me through a personal connection. Not because you're not a super nice guy -- you seem great -- but because, sadly, I just don't have time to go to lunch with everyone I'd like to!

But if we ever meet in person … either through work, or at a conference, class, or festival … maybe we can set it up!

And now, our final question ...

This question comes from Lee, who posted in response to my July 4th column, "More of Your Agent Questions… Answered!":

You seem to only write for Americans, there’s a whole big world out there beyond your borders.

I live and write in England, tried to get a work visa for the U.S. but couldn’t. I take trips to L.A. whenever I can but that costs a hell of a lot of money. If you had any advice for non-U.S. citizens, it would be helpful.

Lee, you are absolutely right; there is a whole big world beyond our borders.

Unfortunately, I've never worked in it … so I'd be no more qualified to give you advice on breaking into the English entertainment industry than you would be to advise me on breaking into, say, the Montana real estate market.

However, here are some great resources that do offer advice, articles, and insight on breaking into the U.K. industry:

The Writers Guild of Great Britain – England's labor union covering "writers in TV, radio, theatre, books, poetry, film, online and video games." Their website offers some great articles, podcasts, and other resources.
Film London – The official agency designed to promote and support London's film and TV industry.
Scriptwriting in the U.K. – Blog and podcast from British screenwriter Danny Stack.
TwelvePoint.com – An online magazine for European screenwriters.
ScreenDaily – Based in London, this is a European news service offering news and updates about the global film industry.
British Film Institute – While it's a bit academic, BFI offers a terrific archive of movies, books, and magazines … as well as many educational opportunities for those interested in film, TV, etc.
Sight and Sound – The magazine of the British Film Institute; although this offers mostly feature stories, reviews, etc., they can also steer you to U.K. contests and resources.
MovieScope – A British magazine focusing on the global film industry, from London to Hollywood and around the world.

Anyway, thanks again for all the great comments, questions, and e-mails -- don't stop! And for those of you who have submitted questions that haven't yet been answered, don't worry -- they're coming!

In the meantime, please feel free to post questions and responses in the Comments section below … or e-mail me at chad@chadgervich.com … or Tweet me @chadgervich … or post on Facebook.

See you next week!