ABC

Post image for TV Writing Fellowships: The Big Six

We all know that staffing season is right around the corner, but a great way to learn more about the TV writing industry while simultaneously get a major push in “breaking into it” is by getting selected into one of the main TV writing fellowships out there.

Although several lists of them have been posted here and there, I didn’t find an exhaustive one listing both the current application requirements for 2011, as well as the correct submission period (plus other info like eligibility, number of fellows selected, etc.).
So here is one.

For future reference, I have also included the two fellowships whose deadlines have already past.
Note that the listed application requirements exclude the obvious signed agreements/application forms that must always be completed. In addition, I did not include the physical details of the submission process such as number of copies of scripts required, notarization of application, shipping address, etc. (all of it can be found on the official page of the programs).

CBS Writers Mentoring ProgramCBS Mentoring Program
Application Webpage
The focus of this six month program is on opening doors: providing opportunities to build relationships with network executives and show runners; to support new and emerging writers in their efforts to improve their craft; and to develop the interpersonal skills necessary to break in and succeed.
The Writers Mentoring Program is not employment and there is no monetary compensation. It is, instead, a structured program of career development, support, and personal access to executives and decision-making processes, with the goal of preparing aspiring writers for later employment opportunities in television.
Each participant will be teamed with two different mentors.
One is a show mentor who is a senior-level writer on a current CBS drama or comedy series. This relationship builds over the course of the Program and is focused on helping the participant with creative feedback on their writing as well as help and advice on career goals.
The other is a CBS network or studio executive with whom they will meet on a regular basis, to discuss their work, get creative feedback on their material and get advice and support in furthering their career.
Once a week, participants will be invited to attend a small workshop-style meeting with various CBS show runners and other industry professionals. Speakers include executive producers, agents, managers, development and current executives and others. The purpose of these gatherings is for participants to gain a better understanding of how the business works from many different perspectives as well as creating the opportunity to make critical networking connections.
It’s been found that in order to derive the greatest benefit from the Program, participants should be available to 1) attend a once a week (evening) workshop and 2) attend meetings or observe in various situations for a minimum of five full days (not necessarily in sequence) over the course of the six-month Program.
Number of applicants selected: Up to 10
Submission period: February 1, 2011 — April 1, 2011
Dates of program: Late September 2011 — April, 2 2012
Eligibility: The primary focus of The CBS Diversity Institute’s Writers Mentoring Program is to provide access and opportunities for talented and motivated diverse writers with a focus on writers of color. Aspiring diverse writers with a strong desire to write for CBS television series are encouraged to apply. You must be 21 or older to be eligible.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– One original work of writing (screenplay, stage play, short fiction story) except original pilots. The original sample should be similar in tone to the spec sample.
– Current resume or short biographical summary
– Letter of interest
Cost: Free

Disney/ABC TV Writing ProgramABC Writing Program
Application Webpage
The program is designed to expose aspiring writers to key executives, producers and literary representatives – all essential in the pursuit of a writing career. Additionally, while in the program, writers have the opportunity to work one-on-one with a current programming or development executive to create spec scripts of series from the current broadcast season. The ultimate goal is to prepare and nurture the writers for a professional writing career.
Number of applicants selected: Up to 8
Submission period: May 1, 2011 — June 1, 2011
Dates of program: January 2012 — January 2013
Eligibility: Applicants must be at least 18 years old and have US employment eligibility. Prior professional work experience in the entertainment industry is recommended. Post college experience preferred. Although one completed script is required for consideration, the ideal candidates should have a body of work consisting of no less than two spec scripts and at least one original sample. If candidate advances to final stages of interview process, the review of additional scripts and referrals from working entertainment industry professionals will be required.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– Current resume
– An autobiographical summary
– A statement of interest capturing the applicant’s journey thus far in pursuing a career as a TV writer (500 words or less)
– Two letters of recommendation from entertainment industry professionals. The letters must be written on your behalf by working entertainment industry professionals who can discuss your potential as a professional television staff writer.
Cost: Free

FOX Diversity Writer’s InitiativeFOX Diversity
Application Webpage
Writers selected will be invited to attend a six-week session at Writers Boot Camp and subsequent consultation with WBC mentors during which their scripts will be rewritten and improved. The goal is to execute scripts at a level of professional quality equal to those purchased by Fox in the course of its normal television development.
Submission period: TBD (Deadline is usually end of June)
Eligibility: The emphasis in the FOX Writer’s Initiative is to support the development of original television series ideas by diverse writers, or by non-diverse writers who are writing about inherently diverse themes and/or diverse lead characters. African-American, Latino, Native American, Middle Eastern, East and South Asian writers are particularly encouraged to apply. Candidates should also be recommended by either agency representation or an individual with considerable industry experience. Applicants must be at least 18 years old to submit.
Application requirements:
Writer without representation:
– One half-hour or hour original spec script pilot.
– The script must be read and evaluated by an individual with considerable industry experience (e.g. a writer that is currently working on a TV show [producer or above], a television or film creative executive, writing professor, a community entertainment group, a national media coalition group). The evaluator is to write a letter of recommendation on the letterhead of the company or school with which (s)/he is affiliated.
– A cover letter indicating writer’s desire to participate in the FOX Writer’s Initiative
– Current resume
Writer with representation, talent agent must submit:
– One half-hour or hour original spec script pilot.
– A cover letter indicating writer’s desire to participate in the FOX Writer’s Initiative
– Current resume of applicant writer
Cost: Free

NBC/Universal Writers on the VergeWriters on the Verge
Application Webpage
Writers on the Verge is a 12-week program focused on polishing writers and readying them for a staff writer position on a television series. The program will consist of two night classes, which will be held on Tuesdays and Thursdays (7-10pm), weekly at NBC in Universal City, CA. Once accepted, students must attend all classes and turn in all written assignments.
Classes concentrate on creating an exceptional spec script and understanding the dynamics of pitching oneself in the television industry. Writers are given the chance to interact with industry players ranging from network executives to showrunners to agents and receive valuable feedback on their work and pitch style.
Number of applicants selected: Up to 8
Submission period: May 30, 2011 — June 30, 2011 (3:00 PM PST deadline)
Dates of program: October 4th, 2011 — January 12th, 2012
Eligibility: Anybody can apply. The program is especially looking for writers who are “almost there” but need that final bit of preparation with their writing and personal presentation skills. They particularly encourage writers of diverse backgrounds to apply.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– Current resume
Cost: Free

Nickelodeon Writing FellowshipNick Fellowship
Application Webpage
Operating in a three-phased structure, the Fellowship provides a salaried position for up to one year and offers hands-on experience writing spec scripts and pitching story ideas in both live action and animation television.
This three-phased structure allows fellows an opportunity to nurture relationships with creators, network executives, line producers, head writers, showrunners and story editors.
As part of their script writing, each fellow will be assigned to an Executive in Charge of Production and have an opportunity to write a spec script for an on-air Nickelodeon show.
In addition, all fellows are integrated into the activities of both the development and production departments. This allows the fellows an opportunity to attend storyboard pitches, notes meetings, records, table reads, show pitches and show tapings, all while being exposed to top creators and key production crews.
Number of applicants selected: Up to 4
Submission period: January 2, 2011 — February 28, 2011
Dates of program: October 2011 — October 2012
Eligibility: Applicants must be at least 18 years old and have US employment eligibility.
Application requirements:
– One half-hour comedic spec script based on a primetime network or cable live-action or animation series that aired new episodes during the 2010–2011 season
– Current resume
– Half-page biography
Cost: Free

WB Writers’ WorkshopWB Writers Workshop
Application Webpage
The Warner Bros. Television Writers’ Workshop consists of three components, all geared towards preparing the writer for a successful career in television writing.
Lectures: Weekly lectures feature guest speakers currently working in television and include a mix of showrunners, directors, actors and agents. Each seminar will teach a new skill essential for surviving and excelling in a writers’ room as a staff writer and beyond.
Simulated Writers’ Room: After the lectures, the Workshop participants are divided into smaller groups for an intensive writing experience. Each participant will be required to complete a new spec script under the same deadlines found on a show currently in production. How participants perform during this exercise will determine whether they will be chosen for a possible staffing position on a Warner Bros. show.
Staffing: Upon completion of the program, Studio executives will help participants, who pass the Writers’ Room, obtain a staff position on a Warner Bros. television show currently in production. We can’t guarantee you will get staffed, but we will get your material in front of the people who make the ultimate decisions – the showrunners.
Number of applicants selected: Up to 10
Submission period: May 2, 2011 — June 1, 2011
Dates of program: October 2011 — March 2012
Eligibility: Applicants must have US employment eligibility.
Application requirements:
– One half-hour or hour spec script based on a primetime network or cable series that aired new episodes during the 2010–2011 season
– Current resume
– A one-page composition telling “why you want to be a television writer and how your background will add a unique perspective to television.“
Cost: $30 application fee per script (multiple scripts can be entered through separate applications)


Email This Post Print This Post

7 comments

Post image for Drama Spec Script 2011 — What is hot and what is not

It is now time to review which current dramas are good to spec, and which are not.
A sample script is provided (when available) with the corresponding show.

Let’s do another quick recap of how the list works:
The shows are divided into five categories regarding their appeal to readers and how well they are known/read:
Over-specced (shows that have passed their prime, try to avoid doing them)
Mainstream (shows that have matured enough that they have become on-the-nose speccers–and a lot of people are speccing them)
Wild Cards (soon, everyone will spec those, maybe you can get a head start)
Outsiders (specs that will get you out from the pack)
Gamblers (risky shows that could pay off, or bomb)

There is also a grade regarding the show’s longevity in relation to its speccability.
Meaning, how long can you keep your spec script fresh without having to throw it in the trash?
To do this, we will use the greatest grading system on Earth; stars:
★★★★★ — Excellent
★★★★ — Very Good
★★★★★ — Average
★★★★★ — Fair
★★★★ — Poor

And here we go.


Over-Specced
Re-tool your spec if you have one, but you probably shouldn’t bother beginning a new one for these shows.

CSI/Criminal Minds/Law & Order/The Closer (CBS/NBC/TNT)
Type: Police procedurals
Move along folks, nothing to see here.
Longevity: ★★★★ — If you’re really thinking of speccing these, you’re pretty much five years too late.

Dexter (Sho)
Type: Serialized crime drama
Once upon a time, Dexter was a clear favorite. Now however, the show has past its expiration date for specs.
Longevity: ★★★★★ — Since every season reinvents the show (in an interesting or bad way), it’s never good to put one’s spec stories to the test like that.

Grey’s Anatomy/Private Practice/House (ABC/FOX)
Type: Medical procedurals
Honestly, there’s just no real point in crafting a brand new spec for one of these three.
Longevity: ★★★★★ — Shockingly, they’re all getting another season. Doesn’t mean it’s a good sign.

Mad Men (AMC)
Type: Serialized historical drama
Putting Mad Men as over-specced may once again ruffle a few feathers, but if you know what’s good for you then you’re pretty much aware already that this won’t be an original choice.
Longevity: ★★★★★ — Although there’s a very low risk of AMC ending its flagship drama, treading on serialized plotlines is virtually impossible to avoid.


Mainstream
The current and new widespread shows in town that are getting read.

Bones/Castle (FOX/ABC)
Type: Light police procedural
Bones still has a year or two ahead of it, while Castle joins the mainstream list by becoming the go-to light police procedural specced.
Longevity: ★★★★ — Both are going strong and the ‘case of the week’ format is a proven crowd-pleaser.

Breaking Bad (AMC)
Type: Serialized character/family drama
The show continues to grow in fame and is probably reaching its peak, which means this might one of the last mainstream years for it.
Longevity: ★★★★★ — The problem isn’t that the show won’t get renewed (it will), it is its serialized aspect. I’ll slow-clap anyone who successfully specs a stand-alone episode of Breaking Bad.

Chuck (NBC)
Type: Light spy/action procedural
Everybody loves Chuck. Sadly this means that it is pretty much on the verge of being over-specced.
Longevity: ★★★★★ — Definitely not as much on the bubble as a couple of seasons ago.

Fringe (FOX)
Type: Police/Science-fiction procedural
The number one science-fiction show specced presently (mainly because there aren’t so many out there). Fringe is a strong option, although…
Longevity: ★★★★★ — …you already know how “on the bubble” this show is, so I’d probably wait to see what FOX choses to do with it.

Glee (FOX)
Type: Light serialized high-school dramedy
As predicted, last year’s major Wild Card is now on top of the Mainstream pile. Still a very hard show to spec mainly because of its atypical world. Also might not be the greatest way to showcase your talent given that a third of the script will probably end up being music lyrics.
Longevity: ★★★★ — It’s always a good bet to spec the number one show on television, right? Be careful when juggling with all the soap elements (they might give you a headache).

The Good Wife (CBS)
Type: Legal procedural
Jumping from Outsider to Mainstream is no easy task, but The Good Wife has proven times and times again these past few months its popularity. This is clearly a smart show to spec (watch out for the serialized elements).
Longevity: ★★★★ — Strong ratings and a great procedural/serial balance allows room for a potential spec.

Gossip Girl/90210 (The CW)
Type: Teen dramas
It’s not as if there’s an overwhelming array of teen dramas out there, right?
Longevity: ★★★★ — Never-ending.

The Mentalist (CBS)
Type: Police procedural
A new classic police procedural to spec. It’s hot all right.
Longevity: ★★★★★ — No need to double check, this one is safe.

NCIS:LA (CBS)
Type: Police/Action procedural
Last year it was about to break big, this year it is big. Its older sister show would be proud.
Longevity: ★★★★★ — Another secure CBS procedural.

True Blood (HBO)
Type: Serialized fantasy drama
Somewhat common in the spec pile, despite its heavy reliance on the books’ mythology. Making a loner out of this one will prove difficult.
Longevity: ★★★★True Blood is a big success, but its stories are all over the place (i.e. it is hard to find a status quo to base a spec on).



Wild Cards
Not quite fully widespread but will get there given the chance.

Boardwalk Empire/Treme (HBO)
Type: Serialized historical drama
Now those are hard shows to spec. If you think you can make a Mad Men or even a True Blood spec work, I’d recommend taking a gander at these two first. Especially Boardwalk Empire (which definitely has a lot of potential).
Longevity: ★★★★ — With all the acclaim, it’s no wonder HBO is keeping both series tightly where they are.

Hawaii Five-0 (CBS)
Type: Police/Action procedural
Like NCIS:LA last year, this is undoubtedly the breakout procedural hit of the season, which is sure to become Mainstream real fast.
Longevity: ★★★★★ — Hit show, clear-cut formula and procedural aspect leads to a long spec life.

Justified (FX)
Type: Police procedural
A critical darling and great numbers means Justified is getting hotter by the second. It will probably enter Mainstream land by next season.
Longevity: ★★★★ — The show that keeps on giving (certainly for FX).

Leverage (TNT)
Type: Light heist/con/action procedural
With its fourth season about to debut, Leverage is becoming more popular and the series has matured enough that it’s an almost-perfect light action/heist procedural to spec.
Longevity: ★★★★ — Finding a solid con that stays unused by the show might prove tricky.

Nikita (The CW)
Type: Action procedural
It’s CW, meaning it’s not that watched, although it also means not that many people are speccing it.
Longevity: ★★★★ — It is doubtful the network will let this one go seeing as it’s one of their only (relative) hit.

Parenthood (NBC)
Type: Serialized family drama
Speccing this one last season was pretty much a gamble, but since the first year has passed and storylines are settling, it might be an interesting choice.
Longevity: ★★★★★ — Solid numbers indicate renewal, but can you make the family stories work?

Sons of Anarchy (FX)
Type: Serialized ensemble drama
Sure, Sons of Anarchy is FX’s most popular show, yet its extremely serialized aspect makes it very difficult to write for. If you can make it work, go for it.
Longevity: ★★★★★ — Storylines are shaking up every season so it might be tough to keep an SOA spec current.

The Walking Dead (AMC)
Type: Ensemble/horror drama
If a surprise hit was made last year, this is the one. The enormous success of the show and its amazing potential makes it destined for great spec material.
Longevity: ★★★★ — Great news for potential speccers (not for viewers): The Walking Dead has obviously abandoned the comics’ serialized nature for a more procedural-like aspect.



Outsiders
The shows (mostly cable) you may be tempted to take a risk on, getting you on top of the reading pile. Beyond that, it depends on the willingness of the reader and his/her knowledge of the show. Who knows, maybe the showrunner is into less popular shows and will value your risk-taking.

Burn Notice/Psych (USA)
Type: Light action and crime procedurals
On the limit of being over-specced if only for the fact that they never were mainstream.
Longevity: ★★★★★ — They are both nearing their death bed (even if it’s still a couple of seasons away).

Eureka/Warehouse 13 (Syfy)
Type: Science-fiction procedurals
With Fringe winding down and Stargate: Universe gone, those two are almost the only science-fiction options out there. They are still strong spec shows all around.
Longevity: ★★★★★ — Original stories might be harder to find, especially with Eureka, entering its fifth season already.

Southland (TNT)
Type: Police procedural
Southland is definitely getting more traction with its third season and it’s one of the only cop dramas right now with a real grittiness to it.
Longevity: ★★★★★ — Renewal beyond the current season is still pretty much on the line given the substantial budget cuts needed.

White Collar (USA)
Type: Light crime procedural
White Collar continues to be the dark horse among light procedurals. Undeniably, the show is still continuing to grow in demand.
Longevity: ★★★★ — Pretty much a success for USA’s standards and a perfect candidate for a more atypical spec show.



Gamblers
For one reason or another, these are much riskier specs to do right now. You have been warned.

Blue Bloods (CBS)
Type: Police/family drama
It was a surprise Friday-night hit for CBS, which might make Blue Bloods an interesting spec choice, yet this might still be too unknown.
Longevity: ★★★★★ — It worked for Fridays but not for Wednesdays, so it’s still a toss-up regarding its renewal.

The Chicago Code/Harry’s Law (FOX/NBC)
Type: Police procedural/Legal procedural
Come on, you want to spec this one already? Too soon.
Longevity: ★★★★★ — Chances are Chicago Code is getting the boot sadly. Harry’s Law meanwhile will probably live to see another season.

Forty shows are listed this year and, like last season, a few trends can be observed.

The basic cable market has never been stronger with a big presence by AMC, FX, Syfy, USA and TNT.
On the premium side, beyond the symbolic Dexter presence, Showtime is still pretty much absent from the list due to the lack of dramas. HBO meanwhile is slowly rebuilding its “epic TV” brand (I’m sure Games of Throne will pop up on the list next year).
Network-wise, CBS is still the procedural king, although FOX and ABC are recouping the field with lighter dramas, while NBC is virtually MIA.

Unsurprisingly, a vast majority of the top shows are procedurals with light character serialization. They are the ones which offer a wide range of storylines without compromising the status quo.
Interestingly enough though, the harder shows to spec (relying on more complex mythologies and serialized plots) are still considered attractive. They are indeed a great platform to showcase more in-depth writing skills, but they come at the price of spec longevity.

The bottom line is the same as usual: select a show that reflects your voice, your aspirations, and what you like.
The choice is yours.

Click here for the Comedy Spec Script list.


Email This Post Print This Post

6 comments

Post image for Comedy Spec Script 2011 — What is hot and what is not

Like every year, it is now time to review which TV shows are good to spec, and which are not.
Dedicated posts will be made respectively for the best comedies (half-hour) and the best dramas (one-hour).
In addition, you’ll also find (when available) a script for the corresponding show.

Here is a quick recap of how the list works:
The shows are divided into five categories regarding their appeal to readers and how well they are known/read:
Over-specced (shows that have passed their prime, try to avoid doing them)
Mainstream (shows that have matured enough that they have become on-the-nose speccers–and a lot of people are speccing them)
Wild Cards (soon, everyone will spec those, maybe you can get a head start)
Outsiders (specs that will get you out from the pack)
Gamblers (risky shows that could pay off, or bomb)

There is also a grade regarding the show’s longevity in relation to its speccability.
Meaning, how long can you keep your spec script fresh without having to throw it in the trash?
To do this, we will use the greatest grading system on Earth; stars:
★★★★★ — Excellent
★★★★ — Very Good
★★★★★ — Average
★★★★★ — Fair
★★★★ — Poor

Let’s get started.


Over-Specced
Re-tool your spec if you have one, but you probably shouldn’t bother beginning a new one for these shows.

30 Rock (NBC)
Although still extremely popular, people have fallen somewhat out of love with it. And since so many people are doing it, it’s tough to stand out from the pack with this one.
Longevity: ★★★★★ — Sure, the series will probably continue for another couple of seasons, but do you honestly think your new 30 Rock idea won’t become stale fast?

Entourage (HBO)
Finding a fresh and original spec idea for a seven-year-old series about Hollywood is, to put it bluntly, mission impossible.
Longevity: ★★★★ — It’s the final season of the show, so you should probably cash in on your Entourage spec now if you have one. Otherwise, don’t bother starting a new one.

How I Met Your Mother (CBS)
I called last year as the last one HIMYM would be considered mainstream, and beyond the recent two-season pick-up, I stand by my words. The show will enter its 7th season next fall, which pretty much means that, regarding original ideas, it has used most of them.
Longevity: ★★★★★ — Still a good training ground as far as faux multi-cam sitcoms go, but as a realistic spec candidate, it really isn’t.

It’s Always Sunny in Philadelphia (FX)
Seven seasons. Need I say more?
Longevity: ★★★★★ — As underlined last year, FX is in the process of renewing its comedy slate, and though it might live on for a few more seasons. There are only so many stories out there.

The Office (NBC)
Stale is the word. Plus, with Steve Carell departing the series by season’s end, the final nail in the show’s spec-coffin has been hit on the head.
Longevity: ★★★★★ — Guessing whether NBC cancels The Office sans–Carell next season is a pretty big gamble, but in either case, chances are that with all the changes coming up, any continuity in a spec would be severely compromised.

Two and a Half Men (CBS)
One thing’s for sure: you’re not gonna win by speccing this show.
Longevity: ★★★★ — Two words: Charlie. Sheen.

Weeds (Sho)
Once upon a time, Weeds was set in Agrestic where spec stories could be found. Now? No inherent world, no dice.
Longevity: ★★★★ — The upcoming season is probably going to be the last.



Mainstream
The current and new widespread shows in town that are getting read.

The Big Bang Theory (CBS)
This is the ultimate hot multi-cam right now, and with Jim Parsons winning his Emmy, the peak has been reached.
Longevity: ★★★★★ — If you want to spec a classic sitcom hit, your choice has been made.

Community (NBC)
Much debate is made about the viability of a Community spec. Is it too much on the bubble? Is it too meta?
The bottom line is that, despite lukewarm ratings, the show is highly regarded, and not solely for its writing (which is a great way to test your chops). As for the meta elements, they’re a great way to be intelligent without being too clever (it’s a fine line, so be careful). Plus, it was just renewed for a third season.
Longevity: ★★★★ — The parody aspect of the show is already feeling tired for some, but if you can make it work, Community is probably meant for you. The introduction of several serialized elements on the show this season might throw a wrench in the spec-works though.

Modern Family (ABC)
As predicted, Modern Family has matured enough that it is now among the reigning comedies being specced. The recent wave of family comedies currently in development proves once again the giant success the show is. Can I call it a phenomenon?
Longevity: ★★★★ — Two seasons in, still a hit, and everyone trying to copy the formula. Yup, I’d say the show is safe for now. The stand-alone aspect of it is also perfect for long-term spec viability.

Parks and Recreation (NBC)
Not only is it becoming increasingly popular, but Parks & Rec has become even fresher (and better?) with the introduction of Rob Lowe and Adam Scott in the regular cast. New dynamics all around.
Longevity: ★★★★ — It’s almost as if a second life has been given to the show.

The United States of Tara (Sho)
A respected half-hour dramedy that has matured enough to warrant a more mainstream demand.
Longevity: ★★★★★ — Showtime isn’t letting go of its strongest Weeds replacement anytime soon.



Wild Cards
Not quite fully widespread but will get there given the chance.

Eastbound & Down (HBO)
Why has Eastbown jumped from being considered a Gambler to a Wild Card? Well for one, it has garnered a lot of steam recently, in every aspect. In addition, its atypical humor has definitely piqued the curiosity of a lot of people, meaning it is fast approaching its apex.
Longevity: ★★★★★ — Conflicting reports indicate that the show’s upcoming third season may, or may not, be its last. Tread carefully.

Raising Hope (FOX)
If there’s one live-action hit comedy on FOX, this is it. If you’re into blue-collar atypical family comedies, Raising Hope is probably a good choice. Given its ratings, the show will undoubtedly get bigger next season, not only on TV but also in the spec world.
Longevity: ★★★★ — Already renewed for second season which bodes well for the future of the series.



Outsiders
The shows (mostly cable) you may be tempted to take a risk on, getting you on top of the reading pile. Beyond that, it depends on the willingness of the reader and his/her knowledge of the show. Who knows, maybe the showrunner is into less popular shows and will value your risk-taking.

Archer (FX)
Becoming somewhat of a cult hit, although not that watched. The fact that it’s animation makes it even more of a challenge.
Longevity: ★★★★★ — The originality factor is strong with this one.

Cougar Town/The Middle (ABC)
Despite going into their third season next fall, Cougar Town and The Middle can still be considered Outsiders simply because of the low amount of specs made based on them. After all, both are still not that mainstream.
Longevity: ★★★★ — Recently renewed, decent ratings and still a lot of storyline potential.

Nurse Jackie (Sho)
The show is popular, but not like its counterpart, The United States of Tara. The recent award recognitions put Jackie a little more on the map of some people.
Longevity: ★★★★ — Already three seasons and a surprise Emmy victory for Edie Falco should ensure a few more seasons. Its limited episode count also opens up the possibility to more unexplored storylines, or in other words, original spec ideas.

Bored to Death (HBO)
A somewhat underground series that could be hard to spec–or to have someone read.
Longevity: ★★★★★ — Solid cast and writing means it should stay on the air, but Bored to Death is a hit or miss show for most people. It won’t necessarily be gone soon but it’s definitely a tough nut to crack.

Hung (HBO)
Similarly to last year, Hung is still a somewhat awkward show to approach, not because of its stories (which now offer plenty of stand-alone opportunities), but mainly due to its lack of visibility.
Longevity: ★★★★★ — A third season on its way, although for some people the show is still considered on the bubble beyond that point. Who knows what kind of serialized shake-ups future episodes will bring.

Mike & Molly (CBS)
Another classic multi-cam sitcom, although definitely not as widespread as Two and a Half Men or The Big Bang Theory, especially outside middle-America.
Longevity: ★★★★★ — If Chuck Lorre’s track-record is any indication, this will surely get renewed.



Gamblers
For one reason or another, these are much riskier specs to do right now. You have been warned.

The League (FX)
I thoroughly enjoy this show but it’s simply not that widespread (if at all). It is so unknown that no one really specs it, which might be something you’re looking for.
Longevity: ★★★★★ — The show was picked up for a third season two months ago, which pushes back a League spec’s death date another year.

The Life and Times of Tim (HBO)
Another (animated) comedy that I like with a huge spec potential, but sadly almost no one watches it.
Longevity: ★★★★★ — It was recently canceled and subsequently brought back from the dead by HBO. Needless to say, it’s a hazardous show to spec.


This year, FOX (re-)entered the spec market with a newcomer that is certain to make some noise in the following months, while NBC is almost dethroned in the comedy field by ABC (Modern Family is unstoppable). Next season is bound to see a lot of family comedies. Although still with a strong presence, both HBO and FX’s comedies continue to be mostly under-the-radar (the two networks being preferred for their dramas).
Meanwhile, single-cameras continue to overshadow almost entirely multi-cameras (save for Chuck Lorre’s ubiquitous presence). The shift is almost complete.

It’s a strong year for the comedy spec world. A wide array of options are available, so differentiate yourself, not only by the show you chose, but more importantly by your writing.

Click here for the Drama Spec Script list.


Email This Post Print This Post

15 comments

Let’s take a breather from all the heavy stories going on around by looking at a few (very interesting) entertainment and writer-related articles and interviews.

First, in case you missed it, The Futon Critic has a minute-by-minute rundown of the anticipated Freaks & Geeks/Undeclared reunion that went on at the Paley Festival a few days ago.

We also have an article from the LA Times about the broadcast of “enhanced” version of serialized series; meaning an old episode with subtitles supposedly clarifying past plot-lines for the viewer.
A great lesson on how to destroy any subtext and condescend to the max everyone involved.
And it becomes pretty ridiculous when it hampers the enjoyment of the current episode. Following ABC’s tries (with Lost and Ugly Betty), DirecTV has now decided to use the same tactic for none other than Damages. Summing up a season’s worth of mythology, one sentence at a time. Lovely.

On the writing side of things, Jen Grisanti, who many may know from the NBC “Writers on the Verge” program, released a couple of weeks back another great one-hour podcast interview, this time with Matthew Salsberg, writer and executive-producer on Showtime’s Weeds. A must-hear.

Finally, it’s always nice to hear personal experiences from fellow (television) writers, and John August’s regular segment, “First Person,” provides just that with amazing in-depth guest articles. Allison Schroeder continues the trend by writing about her “big break,” from being a PA on Pineapple Express and Smallville, to moving up the ladder as writer’s assistant, and then followed by becoming a staff-writer on 90210.


Email This Post Print This Post

Be the first to comment

Post image for Pilot Pick-Up Review (ABC) — 2011–2012 Season

Development season is right now, and with the scripts picked to pilot about to be shot, the next best thing besides watching the finished product is reading them. As well as reviewing them. I’ll also venture a guess as to whether I think they’ll go to series or not (all of which is announced as usual at the Upfronts). So here goes.

Let’s start with ABC, land of the soap and female viewership.
This season, they’re definitely trying to go a little more male-skewing while cashing in on the family comedy genre. With Lost now gone and Desperate Housewives winding down, they’re also on the lookout for the next big high-concept drama.


Dramas (One-hour)
Georgetown (Will Fetters)
Logline: A soapy dramatic series about the young political careerists living together in DC who are just learning the ropes and need to find the balance between idealism and reality.
With: Daisy Betts, Katie Cassidy, Joe Mazzello, Condola Rashad, Jimmy Wolk
My thoughts:
When you think about a political show, your mind goes straight to The West Wing. Here again, Georgetown is a tough sell as a stand-alone show.
It takes more than half of the pilot to get used to the idea that, no, Sorkin isn’t coming to the rescue and, yes, these are indeed 20-something youngsters apparently running the political capital of the country.
As expected, the show is heavily soapy, but this is fortunately no CW show (we’re a long way from Gossip Girl territory). By the end of it, you can see why ABC picked it. Now, whether it’s…
Going to series? Yes. Joss Schwartz (who’s an exec on the project) is now a known commodity, and with the 2012 election right around the corner, everyone’s waiting for a political show to pop up (that isn’t going to fail like ABC’s last try, Commander in Chief).

Good Christian Bitches (Robert Harling)
Logline:A dramatic series with comedic elements based on the book of the same name by Kim Gatlin. The series centers on a woman with two children who tries to start over by moving back to the wealthy Dallas enclave where she grew up after the death of her disgraced husband. Now living with her overbearing mother, she remembers that she left for a reason, because her old “friends” are ready to sabotage her with gossip and worse. It doesn’t help that she wasn’t exactly an angel in her youth. She turns to her true allies and faith to get her through.
With: Jennifer Aspen, Leslie Bibb, Kristin Chenoweth, Marisol Nichols, Annie Potts, Miriam Shor
My thoughts:
If any project is striving to be a Desperate Housewives replacement, this is the one.
Disappointingly, the pilot wasn’t as strong as its predecessor. Whereas Housewives succeeded in bringing, both, the serious drama and the funny comedy, Good Christian Bitches barely scratches the surface.
Ultimately, Christian Bitches is to Housewives what The Talk is to The View. Get from that what you will. And about that not-so-provocative title? You can bet they’ll change it.
Going to series? Yes, but… Is ABC confident enough in Desperate Housewives to carry over a few more seasons, or do they want a new ensemble soap right now? Plus controversy is always welcome.

Hallelujah (Marc Cherry)
Logline: A dramatic series set in the small town of Hallelujah, Tennessee in which the forces of good and evil are personified by two men. One is hard-working diner owner who’s had a run of tragic luck and the other is a corrupt and immoral millionaire. When it appears evil is winning the battle, a mysterious newcomer arrives in town and things start looking more optimistic for “good.”
With: Arielle Kebbel, Donal Logue, Jesse L Martin, Frances O’Connor, Terry O’Quinn
My thoughts:
I came in expecting nothing, I came out not only liking the pilot but anticipating the series.
Some people may call me crazy for comparing Hallelujah to it, but I got a strong The Stand–like vibe from the show.
The way Cherry weaves religion/faith into the story, and how everything quietly builds up to a battle between good and evil in the purest sense is definitely reminiscent of the Stephen King classic.
I don’t want to spoil too much about either The Stand or Hallelujah, but I thoroughly enjoyed this world.
Overall, it is eons more intriguing than, say, Happy Town, which was much more a Twin Peaks wannabe than Cherry’s project is.
Going to series? Yes. Solid cast, solid writer, solid story. And it’s Marc Cherry’s highly anticipated new project.

Identity (John Glenn)
Logline: A dramatic series based on the UK ITV series centering on an elite team that investigates identity thieves. The detectives are chasing electronic footprints – surveillance camera footage, parking tickets, credit card purchases – looking for impostors who can be anyone they want.
With: Angela Bassett, Orlando Jones, Wentworth Miller, Colin O’Donoghue, Jay Paulson
My thoughts:
Very classic procedural (which I’m not a fan of generally). Main case is well thought-out but the execution of the premise feels somewhat tame. The protagonist is borderline unlikeable and the visual style is pretty much a copy of all modern CBS procedurals.
I’m somewhat skeptic about the longevity of the show. It’s one thing to come up with six stories about identity theft, but 22 original ones? Ouch.
Going to series? Maybe. Recognizable name in the cast, based on existing property, and ABC wants a more male-skewing procedural. Are those criteria good enough to warrant a series order?

Once Upon a Time (Adam Horowitz/Eddie Kitsis)
Logline: A dramatic series set in the small town of Storybrooke, Maine, where all of the characters in Fairy Tale Land have been in exile, following an epic battle between Good and Evil, which Evil won. Only a ten year old boy knows the truth; everyone else in the town is under the spell of the Evil Queen, who has erased their memories of their past glories. The boy escapes and finds his birth mother, who is the daughter of Snow White and Prince Charming, and together they work to topple the evil queen.
With: Robert Carlyle, Joshua Dallas, Jamie Dornan, Jared Gilmore, Ginnifer Goodwin, Jennifer Morrison, Lana Parrilla, Raphael Sbarge
My thoughts:
Mixing the fairy tale and real world in a serious (i.e. for adults) way is a novel and interesting concept. I really enjoyed the execution. Sure, they’re taking a heavy cue from Lost by alternating two timelines (“past” fairy tale world with “present” modern day), but it works. I can definitely see them going even further and focusing each episode on a given fairy tale character (with flashbacks).
I’m very curious as to how they can make some of the characters work on screen without seeming ridiculous (e.g. Jiminy Cricket). Wait & See.
Going to series? Yes. Highly anticipated premise and top notch cast. (Assuming the SFX don’t fall flat on their face).

Pan Am (Jack Orman)
Logline: A period dramatic series centering on flight attendants for cutting-edge new clipper on Pan American World Airways in the mid-1960’s. It’s the dawn of the space age, but on board, the crew deal with various crises, from love affairs to a bit of international espionage.
With: Kelli Garner, Jonah Lotan, Michael Mosley, Christina Ricci, Margot Robbie
My thoughts:
Mad Men definitely made the 60s look sexy (male-wise), and now Pan Am is striving to do the same with women. With a historical twist.
Indeed, unlike its AMC rival, we get a deeper look into the Cold War era with, for instance, some good Cuba espionage storylines (although no Alias–worthy action). Don’t worry, it isn’t as ridiculous as it sounds. You still get the ABC vibe (i.e. soap elements), but it’s a solid historical drama.
Plus the fact that an episode is set in a given flight is pretty cool. And of course, you have flashbacks (organic and compelling ones, I promise).
Going to series? Why not. In so many ways is this not an ABC show, but I still think it has a shot (mainly thanks to Ricci’s presence).

Partners (Ed Bernero)
Logline: A dramatic series centering on two half sisters, Jess and Mattie, who are also police partners and work as a team to take down criminals, manage their personal lives, and deal with the boy’s club at work. The coolly rational Jess seems like the caregiver for her hotheaded younger sibling, but she is actually covering up a terrible secret in her past, a secret she is anxious Mattie never learns.
With: Michael Beach, Frances Fisher, Larry Gilliard, Jr., Kenneth Mitchell, Scottie Thompson, Annie Wersching
My thoughts:
The ABC version of a cop procedural. Need I say more?
You also have an overbearing voice-over. Actually two of them (the sisters), which gets even more confusing once the action starts to roll in.
Going to series? Depends. The only reason ABC would pick it up is if they plan to play it safe, and if this pilot list is any indication, that’s not what they want to do.

Poe (Chris Hollier)
Logline: A dramatic series centering on writer and early detective Edgar Allan Poe, who investigates strange mysteries in the Boston of the 1840’s, with a contemporary and fun tone. Poe is a reporter who also helps the police investigate difficult cases. He’s smart, charming and sometimes irreverent, and doesn’t rule out the paranormal when solving crimes.
With: Christopher Egan, Tabrett Bethell, Natalie Dormer, Kevin McNally, Leslie Odom Jr.
My thoughts:
Is this Sherlock Holmes (2009): The TV Show? Pretty much.
Still, you’ve got to give props for developing what some might consider a niche show, but is actually much more universal. The mysteries (and techniques employed) end up being almost timeless, and so do the characters. It may be another modernization of classics, but it’s done so well that you can’t complain. Fans of Poe will also be delighted with the many visual shout-outs.
Going to series? Possibly. ABC might want to try something new by picking this up, and with Sherlock Holmes having a sequel released, the timing is perfect.

Revenge (Mike Kelley)
Logline: A dramatic series centering on a young woman whose family is disgraced when her father is framed and sent to prison for a white collar financial crime he didn’t commit, which led to his death. As a result, she went from living in the lap of luxury in the Hamptons to foster care. Years later, in her twenties, she returns to the wealthy enclave where it went down under an assumed identity to get revenge on each and every one of those responsible.
With: Ashley Madekwe, Gabriel Mann, Connor Paolo, Emily VanCamp, Nick Wechsler II
My thoughts:
A revenge drama reminiscent of the Count of Monte Cristo. It’s grandiose, it’s epic, and it’s a soap. What more could ABC ask?
Going to series? Maybe. It’s a crowded field for soaps this ABC season and this one might not be different enough. Although the fact that the story can be close-ended (a la mini series) might push it for mid-season/early summer

The River (Michael J. Green/Michael R. Perry)
Logline: A dramatic series shot in a documentary style centering on a famous television naturalist who is lost and presumed dead while on an adventure in the Amazon. Believing he is still alive, a group of his loyal friends, led by his reluctant medical student son, assemble a rescue mission. But something deadly in the river awaits.
With: Joe Anderson, Paul Blackthorne, Bruce Greenwood, Leslie Hope, Eloise Mumford, Sean Parks
My thoughts:
I’d like to preface this by stating that I’m not a fan of Oren Peli. It will therefore come as a shock to no one that I didn’t like this pilot, at all.
For me, a standard Peli drama (Paranormal Activity, Area 51) is a) done in mockumentary style, b) 85% of nothing happening, c) 15% of build-up, and d) no pay-off. Lo and behold, The River is exactly that.
And it’s another Lost rip-off. You’ve got a weird monster roaming around, you’ve got flashbacks right in the middle of (supposedly) intense moments, and a mysterious island/jungle of sorts. The stakes and mysteries are borderline uninteresting, and the characters are almost unlikable.
Going to series? Yes. ABC wants a new Lost as quickly as possible. Not that such a thing exists but if they want to try, so be it.


Multi-camera Comedies (Half-hour)
The Last Days of Man (Jack Burditt)
Logline: A multi-camera family comedy series centering on a man who is fighting for his manhood while surrounded by a world of women.
With: Tim Allen
My thoughts:
I’ll say it: I thought the script was misogynistic. What is Tim Allen doing?
Main character is unlikeable (if not despicable), and the humor is pretty much tired.
Also, a multi-cam on ABC? What?
Going to series? Maybe. Tim Allen is the only reason this show would get picked up.

Work It (Ted Cohen/Andrew Reich)
Logline: A multi-camera comedy series centering on two men who find success as sales reps for a pharmaceutical company when they do the job dressed as women.
With: John Caparulo, Ben Koldyke, Rebecca Mader, Amaury Nolasco
My thoughts:
What the hell was that?
Hands-down the worst of the pilots on this list.
The script is plain unfunny, and not right for ABC at all. The transvestite storyline is not only plain weird in this context, but it’s also doubtful they can make it believable for an episode (let alone an entire season).
Going to series? I hope not.


Single-camera Comedies (Half-hour)
Bad Mom (Sharon Horgan)
Logline: A single camera comedy series centering on a “bad mom,” who has relied on her own mother to raise her kids. When her mom decides to reclaim her life, she has to get her act together and be a real parent.
With: Jenna Elfman, Sharon Horgan
My thoughts:
Cute comedy, but overall forgettable. Sadly there’s nothing outstanding about it.
Going to series? Possibly. I can see it as a mid-season show that never finds a real audience.

Don’t Trust the Bitch in Apt. 23 (Nahnatchka Khan)
Logline: A single camera comedy series about a sweet girl from the heartland who moves to New York City and her roommate is a slightly crazy, sexy party girl.
With: Michael Blaiklock, Krysten Ritter, James Van Der Beek, Dreama Walker
My thoughts:
Now that’s an edgy comedy for broadcast.
The meta elements of Van Der Beek playing Van Der Beek might go over the head of some of the viewers but we know who ABC is really targeting with this.
Going to series? Yes please?

Man Up! (Christopher Moynihan)
Logline: A single camera comedy series centering on a happily married father of two who struggles with his identity as a modern, sensitive, hand sanitizer using guy versus his father and grandfather, “real” men who were war veterans. He commiserates with his two male best friends and struggles to be a role model for his own son.
With: Amanda Detmer, Dan Fogler, Christopher Moynihan, Teri Polo, Henry Simmons, Mather Zickel
My thoughts:
If you wanted an example of a more ABC male-skewing comedy, this is it. For one, it reminded me a little of FX’s The League (which is a good thing), with this “boys club” kind of vibe. Nothing groundbreaking here though.
Going to series? Doubtful. Slate is pretty full in regards to family comedy and Moynihan is under an ABC Studios deals so, if it isn’t this one, then the next.

My Freakin’ Family (Erica Rivinoja)
Logline: A single camera comedy series about a young couple who have to fight for their role in their baby’s life when each of their parents, who are all from varied cultural backgrounds, descend upon them.
With: Mo Gaffney, Harish Patel, Ravi Patel, Christopher Rich, Cybill Shepherd, Ellen Woglom
My thoughts:
Another try at cashing in on Modern Family, this time with more of an Outsourced take. Sadly, the jokes are pretty tired, the story is boring, and the parents are unlikeable. Thanks but no thanks.
Going to series? Same as above.

Suburgatory (Emily Kapnek)
Logline: A single camera comedy series centering on a teen girl whose quality of life takes a nose dive when her family moves from the big city to the suburbs.
With: Carly Chaikin, Allie Grant, Cheryl Hines, Jane Levy, Jeremy Sisto, Alan Tudyk
My thoughts:
Yes, it was funny and the characters were quirky enough for me to care. I can definitely see it in the Cougar Town/The Middle block. Add in Tudyk and Sisto and I’m already sold.
Going to series? I hope so.


Next up in the broadcast world is CBS.


Email This Post Print This Post

Be the first to comment