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Posts tagged as “Tips”

Comedy Spec Script 2011 – What is hot and what is not


UPDATED:
A brand new 2019 list has been posted.
Click here to access it.



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.

Tips and stories from around the Web, Part 4

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.

Script Coverage: A Brief Reference Guide

Upon my many back-and-forth with various companies the last few months, I was at one point sent by a film production company a script coverage reference guide with various script coverage tips (and a broad template).
Obviously, this is in no way as extensive as, say, the ICM Coverage Guide, and it’s certainly no replacement to other resources like The Bitter Script Reader. This is merely a loose reference guide on how to write script coverage.

I personally found the following tips interesting, not necessarily because of their usefulness (debatable, since it’s for film scripts instead of TV script coverage), but because of the way it breaks down the coverage process down to its finest points. A lot of elements need to be taken into account when one analyzes a script. And if you use it from the other vantage point, it becomes a great list of things to keep an eye for when (re)writing. So, here’s how to do script coverage:

You will find this summary especially useful as a quick reference guide when writing your coverages. The main points of each coverage component are outlined here to jog your memory.

I. The art of reading
Look for:
1. The main points of the plot
2. The main and supporting characters
3. Aspects of the work pertaining to the purpose of your coverage
4. Visual value

II. The submission and script details
A. Copy info directly from the work itself when possible
B. Use “N/A” when information is not available

III. Writing a logline
Write a one‐sentence summary of the script.
Please note that this needs to be informative and is NOT a marketing tagline.

IV. Writing the synopsis
A. Stick to the main plot
B. Write as much as you can from memory
C. Capture some of the mood or tone of the work
D. Use evocative words (use a thesaurus)
E. Simplify
F. Show the work in its best light

V. Address comments to:
A. Concept
1. How original it is
2. Whether it’s high concept or a soft story
B. Premise/theme
1. Strength
2. Universality
C. Plot
1. Predictability
2. Obstacles, complications, reversals, twists
3. Believability
4. Subplots, if any
5. The hook, if any
6. Continuity
D. Main and supporting characters
1. Background
2. Range of emotion and expression
3. Motivation
4. Fatal and other flaws
5. Evolution
6. Consistent development
7. Rooting interest
8. The spice of life: variety of characters
9. The proof of the premise: the right hero for the story
10. In general, what kind of talent would be appropriate
E. Dialogue
1. Reveals character traits
2. Reveals essential information
3. Flows or flounders
4. Is over‐ or underwritten
5. Sounds like people talking
a. Is appropriate for the various characters
b. Is appropriate for the time period and culture
F. The stakes
1. What is at stake?
2. How crucial is it?
3. How dangerous is it?
G. Structure
1. Use of back story or ghost (a beginning that is really the middle)
2. Proper setup of main character and conflict in the beginning
3. A middle that smoothly follows character development and pursuit of the goal
4. An ending that resolves the conflict presented in the beginning
H. Pace
1. Fast, slow, or varied
2. Appropriate for the tone and theme of the piece
I. The writing itself
1. Mastery of the craft
2. Individual style
3. Concept and execution
J. Audience
1. Age
2. Sex
3. Race / Culture
K. Does the work succeed in its objectives?
1. Realization of the premise
2. Evokes the intended emotional response
L. Comparisons
1. Refer to genre
2. Refer to similar films if appropriate
M. Overall reaction
1. Mention anything unique about the work
2. Is it a good blueprint for a movie?
N. Check that you have considered all of the following and include where relevant:
1. Characterization
2. Dialogue
3. Story line/plot
4. Setting/production value
5. Structure
6. Theme/concept
7. Writing ability
8. Budget
9. Recommend, consider, pass

VI. Editing
A. Organize your thoughts
B. Be clear and concise
1. Cut out unnecessary phrases
2. Beware of redundancies
3. Use verbs instead of nouns to express action
4. Use verbs in the active voice instead of the passive
5. Keep subject, verb, and object close to each other
6. Express one thought per sentence or clause
C. Refer back to the project itself as necessary for accuracy
D. Check spelling, punctuation, and grammar
E. Use running heads
F. Keep a copy of each of your coverages.