What It’s Like

To Earnest - welcome to LA! In response to your question: yes, I have lots of advice for TV writers who are just starting out. Pretty much my whole blog, in fact. Take a look back through my archives, and if there are more topics you’d like me to address, or discuss further, please let me know. Also, read Jane Espenson and John August’s blogs.

Onto a question from A Writer’s Assistant, who wants to know which shows not to spec. The list of what to spec is much shorter. Every season, there are a handful of shows which lend themselves really well to being specced. Then everyone writes those and readers get sick of them. This past season, two of the most popular specs were “House” and “Grey’s Anatomy.” So, you might want to consider something a little fresher. The best time to spec a show is in its second or third season. By the time it hits season five or six, it’s getting old. Do not spec cancelled or soon-to-be-cancelled shows (sorry, “Galactica”). Do not spec low-rated shows. You can spec cable shows, but only if they’re real break-out hits, like “The Closer,” “Dexter” or “Mad Men.” I generally recommend against speccing sci-fi shows, only because it’s so limiting. Exceptions would be “Lost” or “Heroes,” which are big hits. Most importantly, don’t spec a show you don’t actually like.

The specs will be a-flying pretty soon, as we get into staffing season. By this, I mean the time when the big four networks do the bulk of their hiring for the year. Cable shows staff year-round, and network jobs will come open as people get fired, but the next few months are still a big deal for TV writers looking for work. So what happens, exactly? How do these staff jobs get filled? Let’s assume that you’re starting from scratch - not a writers’ assistant or script coordinator on an existing show. We’ll also assume you have an agent, and at least one or two great specs.

First, you have to get acquainted with studio executives. There are development execs, who oversee new shows, and current execs, who deal with existing shows. Each show will be covered by a particular exec. When that show needs a new writer (or for a new show, an entire staff of them), the exec will put together a list of candidates. You want to be on that list. For a particular show, the exec will want to see similar specs. He or she will ask your agent: does your client have a light drama? Or a dark procedural? This is why it’s good to have several specs ready, so your agent can say “yes” to any of these questions, and shoot your material over to the exec. The exec will then read you. If he or she likes your work, you’ll go in for a meeting. You’ll chit chat a bit, and talk about the show they’re staffing. They may ask questions like “what would you change about the show?” and “what direction do you see the main character going in next season?” They’re basically trying to determine if you’re a good match for the show. If they think you are, you go on the list.

The recommendation list then goes to the showrunner, who may or may not pay any attention to it. Personally, I’ve found the studio exec meet-and-greet process to be a huge waste of time. Other writers may feel differently. Either way, it’s one of those rituals you just have to do. It certainly won’t do you any harm. Your ultimate goal, of course, is to meet with the showrunner. He or she will also have read your work before arranging a meeting. You’ll do some of the same chit chat and talk further about the show. Here, you’ll definitely want to have good answers to the “where would you take the show” questions. You should also have a story idea or two - not a formal pitch, but something like “I’d love to see Dexter deal with Rita getting pregnant.” The showrunner will be looking for two main things: Will this person contribute creatively to the show? and Is this someone I can stand to work long hours with?

If the showrunner wants to hire you, he or she will contact your agent with an offer, which includes your proposed title and salary. These are negotiable, of course. Your agent may also ask for a script guarantee - a commitment that you’ll get to write at least X number of scripts. Staff contracts generally cover three seasons. Your year-to-year promotions and raises will all be negotiated up front. It will always be your employer’s option whether or not to renew your contract for each season. When everyone agrees on a deal, you sign and you’re hired. Usually, you start work within a few days.

This is the traditional process. Sometimes it happens differently. Sometimes a writers’ assistant will write a freelance script, do a great job, and get hired on as a writer. The studio will still want to read and approve them, but if the showrunner really wants someone, it’s unusual for the studio to refuse.

Fortunately, it’s not necessary to meet at every studio every year. If you met with a particular exec last year, they won’t ask to meet you again before putting you on a list. If it’s been a few years, or if you have new material, you may do another meeting to get re-acquainted. Or, more likely, if the exec from last year has been fired and replaced, you’ll meet with the new person.

This is the time to get your specs polished and ready. It’s also a good time to get your work to agents. But as I mentioned, there’s less of an all-or-nothing feel to staffing season now, so even if you’re not ready this spring, you’ll still find opportunities during the rest of the year. I’ve always found that job opportunities seem to pop up out of nowhere, and I almost never get the ones I’m aiming for. Which doesn’t mean I’ll stop aiming. I just won’t let myself get as frustrated when the traditional route doesn’t seem to take me where I want to go.