Obviously, you have to write spec scripts. And they have to be good enough to impress the people who can launch your career. But what script to write?
Here’s my advice that veers off from the norm. Existing thinking is that you need to write single-camera edgy shows, preferably pilots. Everyone is looking for that “fresh unique voice.” And if you want to write one or two of those, great.
BUT…
My philosophy is to look for where there is a real need and go in that direction. More desire on the part of the buyer and less competition for the seller. A win/win.
So in this case, I recommend you write a multi-camera spec. Existing show or pilot – your choice (or both). There are more multi-camera shows being produced than you think, and when you talk to producers of these shows they bemoan the fact that when they’re looking to staff there are precious few multi-camera specs submitted.
Many of the edgy single-camera specs are also not really funny. Sorry but they’re not. Some are quirky, some are “amusing,” a few rely on shock humor – but rarely are they aggressively funny. Certainly, single-camera specs CAN be aggressively funny but the form is very forgiving when it comes to laughs because the writer is not held accountable. There’s no studio audience to test it.
With multi-camera specs you really have to have comic chops. Multi-camera shows need to be genuinely funny. If you feel you have the talent for that, go for it. There are a lot of wannabe comedy writers who know they don’t have that gift. Single-camera specs allow them to hide that fact in quirkiness or irony or whatever. For that reason alone, a lot of your competition falls away.
The truth is a lot of today’s hopeful young writers look down their noses at multi-cams. College students, by and large, have no interest in them (besides watching FRIENDS every night). That’s bad for multi-cam producers looking for fresh talent, but it’s sure good for YOU if you can deliver the goods.
There are more people trying to break-in now than ever before. That’s just a fact. So anything you can do to give yourself an edge, to distinguish yourself from the pack, is worth pursuing. Write a great multi-camera spec. And like I said, it’s not at the expense of a single-cam spec (write as many of those as you like); it’s in addition. Networks, streaming services, cable channels all have multi-cams. They might be your in. Take advantage (while most people don’t).
As always, best of luck. Someone has to break-in. Why not you?
Write something edgy that millennials will watch. Then get network/studio notes that water it down so it can be viewed by all ages and sensibilities without causing offense.
ReplyDeleteI'm not much of a fan of single camera shows, so thank you for saying it outright... most of them just aren't funny.
ReplyDeleteFriday question... what do you think of the sitcom "Night Court"? Some of the actors admit they had the reputation for being too lowbrow or silly, but damn if the show wasn't hilarious. (The character of Dan Fielding is one of my all time favorites.)
On a whim and an impulse, several years ago I wrote a spec for a still-currently on-the-air animated program that has long worn out its welcome (and no, I'm not speaking of THE SIMPSONS or any of Seth MacFarlane's show). The producer/director used to interact with fans on a forum, and I had contacted him privately to discuss the matter. Since the series is a co-production, with one company here in the U.S. handling the writing and pre-production, while the other in Canada handles the actual animation production (which he's in charge of), he refered me to an associate producer for the U.S. company to contact in regards about submitting my spec; he also informed me that more often than not, if they receive an idea that sounds like it has potential, it ends up in an "ideas bag" for the staff writers to dig through when looking for a minor sub-plot, or even a 'B' story (since this series has an A-B format).
ReplyDeleteI contacted said associate producer, who sent me a release form I had to read, sign, and submit along with my spec, otherwise, they couldn't accept it as "unsolicited material." I did all of that, and was told my spec would be forwarded to their head writer/story editor during their upcoming writers meeting that summer, and that I would be contacted further if anything came of my spec. Never heard anything, and clearly the spec was never used. Even so, the producer/director I originally contacted was blown away I got as far in the process as I did.
It was an interesting experience to say the least. I'm presently working on two specs for another animated programming, only this time, I'm making sure the scripts are far more polished and refined - I've even been able to find samples of actual production scripts from this series scattered across the internet to give me an idea of how their particular scripts are usually written.
Someone should probably teach them about misplaced modifiers, too.
ReplyDeleteI was depressed watch "Beautiful Day." https://www.usatoday.com/story/opinion/2019/12/09/democrats-debate-lineup-white-but-still-diverse-column/4375975002/
ReplyDeleteHey Ken! This is the advice you gave me in Minneapolis last month. I found it very heartening because I've always preferred multi-cam shows and that's where I'd like to work. I want to thank you again for being so gracious.
ReplyDeleteFriday Question:
More and more shows these days - almost all streaming dramas, more and more network and cable dramas, and even a few streaming (The Kominsky Method) and network (The Good Place, The Conners) comedies embrace a serialized story structure. This can make for good television but it makes it impossible to write a spec. Any assumptions you make about the characters, setting, or storyline could be blown apart by the next episode that airs. As television moves in this direction, how do you think new writers will be able to demonstrate their skills in that context?
Sure. That's good advice for a young writer. But what about the OLD writers trying to break into the business? Is it applicable to ua as well?
ReplyDeleteI'm only being partially facetious.
M.B.
Write a "Mom" or "Bob [Hearts] Abishola" spec. Each are edgy series in their own way.
ReplyDeleteI would add that you should send it to managers, others associated with multi-cams. I wrote one - formatted correctly, mirroring an existing show and using Final Draft - to someone more familiar with single cam. They said it was formatted wrong.
ReplyDeleteNot a rule. But, rather, a thought to maximize your opportunity.
Random single cam example from 18-19 season; http://leethomson.myzen.co.uk/Bless_This_Mess_1x01_-_Pilot.pdf
Multi cam example, "Mom" from 13-14: http://www.zen134237.zen.co.uk/Mom_1x01_-_Pilot.pdf
Just so you know, I’m unable to comment using my name. The page where you click on the pictures no longer appears. I wonder if this is the same for other people.
ReplyDeleteI remember liking Night Court - it had a premise-with-legs - at least as much as Barney Miller. The judge was a big Mel Torme fan - can't fault that!
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