written by Yolanda
What shows should you spec?
- Shows you love to watch
- A show that’s been around 1-2 seasons but expected to last
- Highly-rated, critically acclaimed shows
- Episodic shows
- One half-hour comedy and one procedural
- Not the show you want to write for
That’s the simple answer.
You should always write something you love to watch because it will show in your writing. Watch and study between 3-5 episodes, break them down, understand the structure, timing etc. Know the characters and story lines that have already been done.
Pick shows with high ratings, critical acclaim because those are the ones that are likely to stick around. The longer it’s around, the longer your spec will be useful to you. I wrote an episode of Entourage in its sixth season just because I wanted to. A few people wanted to read it because it was such a popular show to spec and people loved to read them, but now it’s kind of dead because the show is over.
Don’t spec Canadian shows! Why? No one wants to read them because unfortunately, not a lot of people watch them. This is what I was told by one of Canada’s top literary agents. Sad, but true.
Choose episodic over serialized because your spec will have a longer shelf life and it’s easier to write. If you pick a heavily serialized show like Mad Men or Once Upon A Time, you’ll probably have to pull out of the serialization. It’s not easy to eliminate serialization because relationships change all the time and once a relationship changes, your spec is dated. I wrote a Parks and Recreation spec when April was still mooning after Andy and he was still pining for Anne. It’s funny as hell, but now they have Rob Lowe and that guy who dated Leslie so it’s dated.
Write a half-hour comedy and a procedural is the advice I’ve been given. But I have little desire to write procedurals, I specialize in comedy so I have yet to write one. I have one on the back burner, but it’s a light-hearted one so it fits with my brand. Don’t write something because someone else suggests you should unless you’re passionate about it. I have several cable pilot scripts I’ve crafted that showcase my ability to write edgy one-hour drama and half-hour single camera cable comedies and this is apparently preferred by many writing teams now so I say write whatever works for you.
Don’t spec the show you want to write for. Well, you can spec it, just don’t send it to them. Write something comparable and send them that.
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Why write a 1/2 hour comedy and also a procedural drama? Those are two completely different types of shows and wouldn’t showcase a consistent writing pattern because they are structured so differently. If you’re trying to get on the writers staff for a sitcom, why would having a spec for a procedural drama benefit you in any way? Sorry, I’m not trying to bash your theory but it seems kind of pointless to write a spec for a certain genre you have no interest in writing for.
Hi Joe
Your question is a good one and I believe I touched on this in the article, but perhaps I should elaborate. Naturally, it seems odd to have such contradictory formats in your portfolio. It’s true that agents need to know how to market you and they can’t do their job effectively if your writing samples are all over the map, but that applies more to genre than format. It’s not easy for an agent to market you if you have samples of each sci-fi, fantasy, comedy, horror, musical, etc. in your portfolio.
The reason it is recommended that new writers prepare a half-hour comedy and a one-hour procedural is so you can show that you do understand the difference between the structure of a half-hour versus an hour-long show. Procedurals are finely-structured, episodic shows, which not only makes it easier for you to write versus a heavily serialized drama, but gives it longer shelf-life and shows that you understand structure. With these two writing samples agents can also submit you for a one-hour and a half-hour show, which means more writing opportunities for you.
Many one-hour shows have comedic elements: Desperate Housewives, Suits, Drop Dead Diva, Grey’s Anatomy, Glee, House, etc.. One of the writers for Buffy The Vampire Slayer (I believe it was Jane Espenson) sent Joss Whedon a spec for Ellen along with a one-hour procedural because she felt that the combination of the two showed how her writing style fit the style of the series.
You mentioned wanting to write for a sitcom, but why limit yourself? Why not write a half-hour single-camera comedy? Why not write a spec for a comedy procedural? Drop Dead Diva or Suits are examples of one-hour procedurals that have a lot of comedy. Yes, they are more serialized than Castle or CSI, but they are less serialized than Desperate Housewives or Mad Men. If you’re not good at comedy, then by all means, stick to the one-hour series, but again, it is recommended that you have at least two solid samples.
It has become preferred for new writers to present an original pilot, but the fact is a lot of industry people still like to know writers can effectively capture the voice for an existing series. There is nothing preventing you from writing a spec of whatever show you want, this is simply a recommendation to help writers focus their energies on what the industry is looking for.
As a writer, you want to show that you know your niche, but are flexible enough to write different formats so you can work. Sitcoms have only recently regained popularity, so if all you write are sitcoms and no one is making them, you’ll be unemployed.
I hope this helps answer your questions.
Yolanda